By Miriam Ross
3D Cinema: Optical Illusions and Tactile studies questions the typical frameworks used for discussing 3D cinema, realism and spectacle, with a view to absolutely comprehend the embodied and sensory dimensions of 3D cinema's certain visuality.
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Extra resources for 3D Cinema: Optical Illusions and Tactile Experiences
As this chapter will demonstrate, stereoscopy complicates any clear binary between the two. On the one hand, the tendency to create extended illusionistic depth in commercial stereoscopic ﬁlms couples with a dismantling of the screen plane so that the planar skin of the ﬁlm is no longer discernible. In this way, the presentation of distinct forms in deep space occurs and an optical visuality is encouraged. The potential for separation from the ﬁlm’s body is then further encouraged by the majority of stereoscopic display systems that ask viewers to use glasses, often with polarised ﬁlters that diminish the intensity of light reaching the eyes.
It is this aspect that Marks references when she discusses the optical visuality found in more traditional cinema modes. Films do not necessarily utilise a coherent visual statement in every scene, and perspectival structures of organisation can be completely disregarded (Bordwell, 1997). Nonetheless, these tendencies are the norm throughout many popular ﬁlms and their popularity, according to Marks, is due to the fact that ‘the highly symbolic world in which we ﬁnd ourselves nowadays is in part a function of the capitalist tendency to render meanings as easily consumable and translatable signs, a tendency that in turn ﬁnds its roots in Enlightenment idealism’ (2000: 139).
He draws on the tactility of the images highlighted by early pioneer Oliver Wendell Holmes, citing Holmes’ assertion that ‘the mind, as it were, feels round it and gets an idea of its solidity’ (2011: 43). By updating these qualities to moving images, Steinbach suggests, museums can provide a visualisation of objects and concepts that provoke engaged interaction and an increased sensory habitus. Hyper-haptic In 3D cinema, ﬁlms from across the lengthy history of stereoscopic moving images demonstrate how tactility, palpable objects, tangible sensations, and other qualities central to haptic are recurrently evident.
3D Cinema: Optical Illusions and Tactile Experiences by Miriam Ross