By Miriam Ross
3D Cinema: Optical Illusions and Tactile reports 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 designated visuality.
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Extra resources for 3D Cinema: Optical Illusions and Tactile Experiences
Although not as overt as the moment when Margot reaches into the auditorium, there is a series of shots during which Mark describes to Tony the way in which he believes the murder to have taken place. In these shots, Mark’s gesticulating hands emphatically reinforce his points in such a way that his hands stretch and point into negative parallax space. Although his eye-line match is directed towards Tony in the reverse shots, so that direct facial address to the audience is prevented, Mark’s hands provide a strong invocation to enter into a relationship with him.
Alison Grifﬁths Hyper-Haptic Visuality 45 discusses immersive viewing spaces, including 3D IMAX auditoriums whereby one feels enveloped in immersive spaces and strangely affected by a strong sense of the otherness of the virtual world one has entered, neither fully lost in the experience nor completely in the here and now. (2008: 3) While Grifﬁth’s work explicitly examines visual technologies that have expansive immersive qualities – panoramas, planetariums, museum period rooms, and IMAX travelogues – and 3D cinema can be included in this range, all moving images have the potential to involve viewers in multiple levels of engagement.
By making the traditional screen surface violable and open to play, the 3D ﬁlm allows the potential for a fundamental haptic affect, the sense of ‘touching not mastering’ (Marks, 2000: xii). For Juliana Bruno, haptic provides ‘a tangible, tactical role in our communicative “sense” of spatiality and motility, thus shaping the texture of habitable space and, ultimately, mapping our ways of being in touch with the environment’ (2002: 6). As will be discussed, 3D cinema is attuned to a sense of spatiality in a manner that is more intense than that found in ﬂat cinema, and the texture of its habitable space has a corporeal quality that is heightened by the sculpting provided by stereoscopic depth cues.