3D Cinematic Aesthetics and Storytelling pp 77-111 | Cite as
Stereoscopic Timespaces: Directionality, Dimensionality and Temporality
- 182 Downloads
Abstract
I develop a more specific discussion about the combination of spectacle and narrative in 3D films based on Wood’s (2002, 2007) notion of ‘timespaces’—distinctive spatiotemporal configurations that result from the splicing of original footage and digital effects in contemporary cinema—as well as her consideration of the multiple connotations of ‘spectacle.’ I categorise 3D timespaces into three types: primary stereoscopic timespace, dynamic stereoscopic timespace, and subjective stereoscopic timespace. Considering 3D timespaces as vehicles both for spectacle and for narrative action, this chapter provides a ‘springboard’ for the discussion of narrative tropes and techniques in the following chapters.
References
- Benjamin, B. (2012, July). Ancient aliens: Dariusz Wolski, ASC and Ridley Scott discuss their approach to 3-D digital capture on the sci-fi thriller Prometheus. American Cinematographer Website. Retrieved from https://theasc.com/ac_magazine/July2012/Prometheus/page1.html
- Bogue, R. (2010). To choose to choose—To believe in this world. In D. N. Rodowick (Ed.), Afterimages of Giles Deleuze’s film philosophy (pp. 115–132). Minneapolis/London: University of Minneapolis Press.Google Scholar
- Branigan, E. (1984). Point of view in the cinema. Berlin/New York/Amsterdam: Mouton Publishers.CrossRefGoogle Scholar
- Deleuze, G. (1997). Cinema II: The time-image. Minneapolis: The University of Minnesota Press.Google Scholar
- Deleuze, G., & Guattari, F. (1994). What is philosophy?. (H. Tomlinson & G. Burchell Trans.). New York: Columbia University Press.Google Scholar
- Elsaesser, T. (2013, Winter). The ‘return’ of 3-D: On some of the logics and genealogies of the image in the twenty-first century. Critical Inquiry, 39(2), 217–246.CrossRefGoogle Scholar
- Giddens, A. (1984). The constitution of society: Outline of the theory of structuration. Berkeley: University of California Press.Google Scholar
- Jackson, P. (2013, December 5). The Hobbit: The Desolation of Smaug, production diary #13. [YouTube]. Retrieved from https://www.youtube.com/watch?v=tv1imkOqHZ8&list=PLxEb7OJne0_cKWPIF8srU4D-SReVF-ybn
- Lee, A. (2013, April 23). Exclusive live video interview with Ang Lee about 3D in the Life of Pi @ 3DCS 2013. [YouTube]. 3DCreativeSummit. Retrieved from https://www.youtube.com/watch?v=8YXzKJu5wjw
- Pierson, M. (2002). Special effects: Still in search of wonder. New York: Columbia University Press.CrossRefGoogle Scholar
- Prince, S. (2012). Digital visual effects in cinema: The seduction of reality. New Brunswick: Rutgers University Press.Google Scholar
- Rodowick, D. N. (2010). Introduction: What does time express? In D. N. Rodowick (Ed.), Afterimages of Giles Deleuze’s film philosophy (pp. xvii–xviii). Minneapolis/London: University of Minneapolis Press.Google Scholar
- Ross, M. (2012, Winter). The 3-D aesthetic: Avatar and hyperhaptic visuality. Screen, 53(4), 381–397.CrossRefGoogle Scholar
- Ross, S. (2012). Invitation to the voyage: The flight sequence in contemporary 3D cinema. Film History, 24(2), 210–220. https://doi.org/10.1353/fih.2012.0010.CrossRefGoogle Scholar
- Rushton, R. (2012). Cinema after Deleuze (1st ed.). London: Continuum.Google Scholar
- Shaviro, S. (2011, August 30). The Pinocchio theory: Post-continuity. [Web log post]. Shaviro blog. Retrieved from http://www.shaviro.com/Blog/?p=1003
- Shaviro, S. (2012, March 26). The Pinocchio theory: Post-continuity: full text of my talk. [Web log post]. Shaviro blog. Retrieved from http://www.shaviro.com/Blog/?p=1034
- Whissel, K. (2006, Summer). Tales of upward mobility: The new verticality and digital special effects. Film Quarterly, 59(4), 23–34. https://doi.org/10.1525/fq.2006.59.4.23.CrossRefGoogle Scholar
- Wood, A. (2002, Winter). Timespaces in spectacular cinema: Crossing the great divide of spectacle versus narrative. Screen, 43(4), 370–386. https://doi.org/10.1093/screen/43.4.370.CrossRefGoogle Scholar
- Wood, A. (2007). Digital encounters. London/New York: Routledge.Google Scholar
- Zettl, H. (2012). Why 3D may work occasionally: Case reopened. Visual Communication Quarterly, 19(3), 148–159.CrossRefGoogle Scholar