Spaces mapped and monstrous :digital 3D cinema and visual culture
- 作者: Jones, Nick,
- 出版:
- 稽核項: 1 online resource.
- 叢書名: Film and culture
- 標題: Motion pictures , 3-D films. , COMPUTERS Design, Graphics & Media -- Video & Animation. , Digital MediaVideo & Animation. , COMPUTERS , Digital cinematography. , Aesthetics. , Electronic books. , Design, Graphics & MediaVideo & Animation. , COMPUTERS Digital Media -- Video & Animation. , Space perception and motion pictures. , Motion pictures Aesthetics.
- ISBN: 0231550715 , 9780231550710
- ISBN: 9780231194228 , 9780231194235
- 試查全文@TNUA:
- 附註: Includes bibliographical references and index. History : the long view of 3D film and theory -- Visualisation : from perspective to digital 3D -- Simulation : dematerialising and enframing -- Immersion : entering the screen -- Surveillance : converting image to space, world to data -- Defamiliarisation : rethinking the screen plane -- Distortion : unfamiliar and unconventional space -- Intimacy : the boundedness of stereoscopic media -- Conclusion: Seeing in 3D.
- 摘要: "3D cinema is often maligned by viewers and critics but, as Nick Jones argues, it is a central feature of contemporary cinema and our current visual landscape. Instead of seeing it as merely an augmentation of 2D cinema, Nick Jones offers a critical history and analysis of 3D cinema that views it as a distinctive media form. 3D cinema is not only a technology used in both blockbuster and avant-garde films but as a tool for producing, controlling, and distorting space, Jones analyzes how 3D has also become a part of contemporary systems of surveillance, attention management, and militarized spatial control. Spaces Mapped and Monstrous situates the production and exhibition of 3D cinema within a web of aesthetic, technological, and cultural contexts, emphasizing how the production of space experienced in 3D addresses a range of other discourses around spatial representation. Jones argues that 3D cinema represents space in ways that can be read as mapped and monstrous. Mapped, because digital 3D relies on precision-tooled image management to create digitized renderings of space in which all dimensions and actions are quantified and geolocated; and monstrous, because 3D cinema is an acutely immersive media form which destabilizes distinctions between observed image and lived-in space. The first half of the book covers the history of 3D cinema, the way 3D has been approached by film theory, the digital contexts of contemporary 3D production, and the relationship between planar (2D) images and the stereoscopic spaces of 3D. The book's second part connects digital 3D with the development of immersive virtual reality technologies, the rise of globe-spanning computer telecommunication networks, and the shifting nature of the screen in the contemporary new media landscape"--
- 電子資源: https://dbs.tnua.edu.tw/login?url=https://www.jstor.org/stable/10.7312/jone19422
- 系統號: 005279429
- 資料類型: 電子書
- 讀者標籤: 需登入
- 引用網址: 複製連結
Digital 3D has become a core feature of the twenty-first-century visual landscape. Yet 3D cinema is a contradictory media form: producing spaces that are highly regimented and exhaustively detailed, it simultaneously relies upon distortions of vision and space that are inherently strange. Spaces Mapped and Monstrous explores the paradoxical nature of 3D cinema to offer a critical analysis of an inescapable part of contemporary culture. Considering 3D’s distinctive visual qualities and its connections to wider digital systems, Nick Jones situates the production and exhibition of 3D cinema within a web of aesthetic, technological, and historical contexts. He examines 3D’s relationship with computer interfaces, virtual reality, and digital networks as well as tracing its lineage to predigital models of visual organization. Jones emphasizes that 3D is not only a technology used in films but also a tool for producing, controlling, and distorting space within systems of surveillance, corporatization, and militarization. The book features detailed analysis of a wide range of films—including Avatar (2009), Goodbye to Language (2014), Love (2015), and Clash of the Titans (2010)—demonstrating that 3D is not merely an augmentation of 2D cinema but that it has its own unique properties. Spaces Mapped and Monstrous brings together media archaeology, digital theory, and textual analysis to provide a new account of the importance of 3D to visual culture today.
來源: Google Book
來源: Google Book
評分
