By Miriam Ross
3D Cinema: Optical Illusions and Tactile reports questions the typical frameworks used for discussing 3D cinema, realism and spectacle, as a way to totally comprehend the embodied and sensory dimensions of 3D cinema's detailed visuality.
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Additional resources for 3D Cinema: Optical Illusions and Tactile Experiences
Under this model, Jennifer Barker’s The Tactile Eye (2009) explores the potential for experimental ﬁlms to elicit tactile exploration of their textural surfaces and the propensity for the chase ﬁlm to produce heighted musculature and kinaesthetic reaction. Vivian Sobchack’s numerous essays in Carnal Thoughts: Embodiment and Moving Image Culture (2004) examine how diverse ﬁlms and media texts are able to make meaning out of bodily sense. Elena del Río’s Deleuze and the Cinemas of Performance: Powers of Affection (2008) utilises a Deleuzean reading to explain the way ﬁlms with performing bodies create affective intensity.
2011: 138–139) Jennifer M. Barker expands the viewing context beyond Voss’ temporal belief to suggest a process whereby the viewer is ‘doubly situated,’ both aware of the auditorium and immersed in the ﬁlm (2009: 104). Tom Gunning ﬁnds this evident from the beginning of cinema, whereby moving pictures were the logical achievement of a history of visual tricks that tested the intellectual disavowal – ‘I know, but yet I see’ (1995a: 117; see also Metz, 1975: 70). In this context there is a ‘dramatically unfolding spectator experience, vacillating between belief and incredulity’ (Gunning, 1995a: 117).
By providing the viewer with the sensation that they are on the same plane as the workers, the power dynamic created by the placement of the colonel as he stands above this group is enhanced. Our relationship with him is constructed through a sense of where our physical bodies are placed within the screen space, near and far from him, near and far from the other workers. Editing within this scene, and throughout Hyper-Haptic Visuality 29 the ﬁlm, means that this placement is constantly shifting and changing but, rather than unhinging our bodily experience, this experience facilitates a commitment from the viewer to reground the body and remain attuned to how spatial placement can be felt and experienced in relation to the ﬁlm’s action.