Advertisement

Between Depth and Flatness: Shaping Stereoscopic Ontologies

  • Yong Liu
Chapter
  • 174 Downloads

Abstract

In contrast to the consistent focus on stereoscopic depth throughout the previous chapters, this chapter returns to the question of flatness. Here, I focus on deliberate deployments of flatness within the context of 3D imagery. I argue that such deployments of flatness in contemporary digital 3D cinema are primarily determined by narrative aims: they allow for the delineation and definition of characters, spaces and dramatic moments. Subsequently, I categorise the application of flatness in digital 3D cinema into four modes: remediation, juxtaposition, morph and synthesis. Each of these modes serves different narrative ends, working in different ways to complement or contrast with stereoscopic depth. Ultimately, I argue that the alternation or layering of flatness and depth enhances narrative by highlighting the dramatic and ontological qualities of characters and spaces.

References

  1. Bolter, J., & Grusin, R. (2000). Remediation: Understanding new media. Cambridge: The MIT Press.Google Scholar
  2. Forster, E. M. (2002). Aspects of the novel. New York: Rosetta Books.Google Scholar
  3. Gardner, B. (n.d.). Perception and the art of 3D storytelling. Creative Cow Magazine Website. Retrieved from https://library.creativecow.net/article.php?author_folder=gardner_brian#article_folder=magazine_3d_storytelling#page=1
  4. Higgins, S. (2012). 3D in depth: Coraline, Hugo, and a sustainable aesthetic. Film History, 24(2), 196–209. https://muse.jhu.edu/article/479268
  5. Kozachik, P. (2009, February). 2 worlds in 3 dimensions. American Cinematographer Website. Retrieved from https://theasc.com/ac_magazine/February2009/Coraline/page1.html
  6. Malpas, J. (2014). With a philosopher’s eye: A ‘naïve’ view on animation. Animation: An Interdisciplinary Journal, 9(1), 65–79.  https://doi.org/10.1177/1746847713520521.CrossRefGoogle Scholar
  7. Manovich, L. (2005). Compositing: Film image streams to modular media. In C. Gehman & S. Reinke (Eds.), The sharpest point: Animation at the end of cinema (pp. 49–73). Toronto: YYZ Books.Google Scholar
  8. Neuman, R. (2009). Bolt 3D: A case study. In A. J. Woods, N. S. Holliman, & J. O. Merritt (Eds.), Stereoscopic displays and applications XX proceedings of SPIE-IS&T electronic imaging (Vol. 7237, 72370F).  https://doi.org/10.1117/12.823927.
  9. Paul, W. (1993). The aesthetic of emergence. Film History: An International Journal, 5(3), 321–355. Retrieved from http://www.jstor.org/stable/3815145
  10. Peters, J. (2014). Topology of digital images: Visual pattern discovery in proximity spaces. Heidelberg/New York/Dordrecht/London: Springer.CrossRefGoogle Scholar
  11. Prince, S. (2012). Digital visual effects in cinema: The seduction of reality. New Brunswick: Rutgers University Press.Google Scholar
  12. Purse, L. (2013). Digital imaging in popular cinema. Edinburgh: Edinburgh University Press.Google Scholar
  13. Ross, M. (2015). 3D cinema: Optical illusions and tactile experiences. Hampshire/New York: Palgrave Macmillan.CrossRefGoogle Scholar
  14. Wing, J. (2006, March). Computational thinking. Communication of the ACM, 49(3), 33–35. https://www.cs.cmu.edu/~15110-s13/Wing06-ct.pdf

Copyright information

© The Author(s) 2018

Authors and Affiliations

  • Yong Liu
    • 1
  1. 1.Faculty of Arts and Social SciencesUniversiti Brunei DarussalamBandar Seri BegawanBrunei Darussalam

Personalised recommendations