Cinematic Appeals : : The Experience of New Movie Technologies / / Ariel Rogers.
Cinematic Appeals follows the effect of technological innovation on the cinema experience, specifically the introduction of widescreen and stereoscopic 3D systems in the 1950s, the rise of digital cinema in the 1990s, and the transition to digital 3D since 2005. Widescreen cinema promised to draw th...
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Superior document: | Title is part of eBook package: De Gruyter Columbia University Press eBook-Package Backlist 2000-2013 |
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Place / Publishing House: | New York, NY : : Columbia University Press, , [2013] ©2013 |
Year of Publication: | 2013 |
Language: | English |
Series: | Film and Culture Series
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Online Access: | |
Physical Description: | 1 online resource (352 p.) :; ‹B›Figures: ‹/B›68. |
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100 | 1 | |a Rogers, Ariel, |e author. |4 aut |4 http://id.loc.gov/vocabulary/relators/aut | |
245 | 1 | 0 | |a Cinematic Appeals : |b The Experience of New Movie Technologies / |c Ariel Rogers. |
264 | 1 | |a New York, NY : |b Columbia University Press, |c [2013] | |
264 | 4 | |c ©2013 | |
300 | |a 1 online resource (352 p.) : |b ‹B›Figures: ‹/B›68. | ||
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490 | 0 | |a Film and Culture Series | |
505 | 0 | 0 | |t Frontmatter -- |t Contents -- |t List of Illustrations -- |t Acknowledgments -- |t Introduction: Moving Machines -- |t 1. "Smothered in Baked Alaska": The Anxious Appeal of Widescreen Cinema -- |t 2. East of Eden in CinemaScope: Intimacy Writ Large -- |t 3. Digital Cinema's Heterogeneous Appeal: Debates on Embodiment, Intersubjectivity, and Immediacy -- |t 4. Awe and Aggression: The Experience of Erasure in The Phantom Menace and The Celebration -- |t 5. Points of Convergence: Conceptualizing the Appeal of 3D Cinema Then and Now -- |t Notes -- |t Selected Bibliography -- |t Index -- |t Backmatter |
506 | 0 | |a restricted access |u http://purl.org/coar/access_right/c_16ec |f online access with authorization |2 star | |
520 | |a Cinematic Appeals follows the effect of technological innovation on the cinema experience, specifically the introduction of widescreen and stereoscopic 3D systems in the 1950s, the rise of digital cinema in the 1990s, and the transition to digital 3D since 2005. Widescreen cinema promised to draw the viewer into the world of the screen, enabling larger-than-life close-ups of already larger-than-life actors. This technology fostered the illusion of physically entering a film, enhancing the semblance of realism. Alternatively, the digital era was less concerned with the viewer's physical response and more with information flow, awe, and the reevaluation of spatiality and embodiment. This study ultimately shows how cinematic technology and the human experience shape and respond to each other over time. | ||
530 | |a Issued also in print. | ||
538 | |a Mode of access: Internet via World Wide Web. | ||
546 | |a In English. | ||
588 | 0 | |a Description based on online resource; title from PDF title page (publisher's Web site, viewed 02. Mrz 2022) | |
650 | 0 | |a Cinematography |x Technological innovations. | |
650 | 0 | |a Digital cinematography. | |
650 | 0 | |a Motion picture audiences. | |
650 | 0 | |a Technology in motion pictures. | |
650 | 7 | |a PERFORMING ARTS / Film & Video / History & Criticism. |2 bisacsh | |
773 | 0 | 8 | |i Title is part of eBook package: |d De Gruyter |t Columbia University Press eBook-Package Backlist 2000-2013 |z 9783110442472 |
776 | 0 | |c print |z 9780231159173 | |
856 | 4 | 0 | |u https://doi.org/10.7312/roge15916 |
856 | 4 | 0 | |u https://www.degruyter.com/isbn/9780231535786 |
856 | 4 | 2 | |3 Cover |u https://www.degruyter.com/document/cover/isbn/9780231535786/original |
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