Variation within Stability: Digital 3D and Film Style

Jones, Nick

doi:10.1353/cj.2015.0073

Cited by 5 publications

(2 citation statements)

References 18 publications

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“…Salah satu teknologi yang hadir dalam sinema adalah gambar stereoskopik atau tiga dimensi (selanjutnya akan disebut 3D). 3D menghasilkan persepsi ruang tiga dimensi dengan cara menampilkan gambar kembar dengan perbedaan halus ke mata kiri dan kanan penonton melalui teknologi polarisasi (Jones, 2015). Ciri khas dari teknologi 3D adalah adanya efek visual timbul dari layar.…”

Section: Pendahuluanunclassified

Pengalaman dan Pandangan Khalayak Pegiat Sinema Non-Produksi Terkait Teknologi 3D Sebagai Pendukung Saluran Komunikasi Film

Pradsmadji¹,

Irwansyah²

2019

J. Komun.

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The technological development within the audiovisual industry has provided the audience with a viewing experience that is increasingly becoming more and more tangible, including in the film industry. One of the developing technologies is the 3D cinema. The 3D cinema emerges in hopes of delivering a stunning and memorable experience for its audience, but the mixed response from the audience, as well as the neverending development of technology, question 3D’s position on offering a new experience and supporting film as a communication channel. By using the descriptive phenomenology method, this research focuses on the experience and perception of non-production film people towards 3D in supporting film as a communication channel. This research aims to look on how the informants, who are not production people and are people directly involved in the exhibition and appreciation aspects of cinema, perceive and experience film in the 3D format, as well as 3D’s position in the film and audiovisual industry now and in the future. The result shows that even though 3D is acknowledged as a novelty and a technological leap, it does not always add something to the viewing experience, and has even become obsolete. Perkembangan teknologi dalam industri audiovisual memberikan khalayak pengalaman menonton yang semakin lama terasa semakin dekat dengan kenyataan, tak terkecuali dalam industri perfilman. Salah satu teknologi yang berkembang tersebut adalah sinema 3D. Kehadiran sinema 3D diharapkan dapat memberikan pengalaman yang menakjubkan dan berkesan bagi khalayaknya, namun penerimaan khalayak yang beragam, selain juga teknologi yang semakin berkembang, menjadi pertimbangan apakah 3D memang benar-benar memberikan pengalaman baru dan mendukung film sebagai saluran komunikasi. Penelitian ini menggunakan metodologi fenomenologi deskriptif, penelitian ini berfokus pada pengalaman dan pandangan pegiat sinema non-produksi terhadap sinema 3D sebagai pendukung saluran komunikasi film. Tujuan penelitian adalah untuk melihat bagaimana para informan, yang bukan berasal dari produksi film dan sebagai orang yang terlibat langsung dalam ekshibisi dan apresiasi sinema, memandang dan mengalami teknologi 3D. Para informan menceritakan pengalaman film mereka, pengalaman mereka ketika menonton film dalam format 3D, serta posisi teknologi 3D dalam industri film dan audiovisual di masa kini dan di masa yang akan datang. Hasil menunjukkan bahwa biarpun 3D dianggap sebagai sesuatu yang baru dan juga diakui sebagai bentuk dari lompatan teknologi, 3D tidak selalu menambah sesuatu terhadap pengalaman menonton dan bahkan kini sudah mulai ditinggalkan.

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Section: Pendahuluanunclassified

Pengalaman dan Pandangan Khalayak Pegiat Sinema Non-Produksi Terkait Teknologi 3D Sebagai Pendukung Saluran Komunikasi Film

Pradsmadji¹,

Irwansyah²

2019

J. Komun.

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“…Unfortunately, I have not had the chance to see the Blacker Than Night in 3D, thus, my claims are based on the accounts of reviewers and on the "planar" 2D version of the movie. Yet, I assume, in dialogue with scholars of 3D films, that certain crucial aesthetic choices can actually be deduced from the compositions and camera movements seen in the 2D version as well(Higgins 2012;Jones 2015).…”

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confidence: 99%

The Politics of Affect in Contemporary Latin American Films on Domestic Workers

Árva¹

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2017) as well as at the Ibero-Amerikanisches Institut in Berlin (2018). Section 1.2.: The Question of Embodiment in Film Studies and in Decolonial ThinkingThe Theories of Embodied Spectatorship The set of inquires called "the theories of embodied spectatorship" have provoked a vivid discussion within film studies over the last two and a half decades. However, in fact, these studies form such a variegated complex of ideas that even its overgeneralized common denominator associated with the attention to embodiment seems to be, at times, debated. 8 These theorizations present such a great heterogeneity of concepts, definitions, terminology, and inspirational sources, that perhaps the best way to eventually bind them together without risking to be vague is by recalling what they unanimously oppose. What virtually all corresponding lines of inquiry agree on is that the paradigm in film studies that was in a hegemonic position between the 70s and the beginning of the 90s, grounded on semiotic, psychoanalytic, or Marxist accounts, presents overgeneralizing, falsely totalizing and incomplete assertions that fail to account for the actual experience of film viewing. Besides, the authors in question state that the most pressing weakness of these former theoretical models, predominantly concerned with structures of the narrative or psychoanalytic implications of "the filmic gaze", is their lack of attention to the ways how films move viewers, or, in other words, how films affect spectators in corporeal and emotional terms.The causes of this flaw, as theorists observe, are manifold, but most of them derive from a set of limitations underlying Western philosophical traditions that inform these once hegemonic film theories. One of these limitations is a general disdain for emotions. In Western thought, emotions are considered to be opposed to reason, "too feminine" to enter patriarchal scientific discourse, or simply not suitable as objects of study, since they belong to the realm of the private or the subjective (Plantinga 2009, 4-5). Other than that, there is a long-standing fear and distrust of images in Western philosophy since Plato's cave, for it is assumed that images possess a seductive power due to their capacity to produce hallucinatory impressions, hence, they may be mistakenly confused with reality. Elaborated along this line, the "paranoid" and "phobic" constructs of psychoanalytic and semiotic film theory take moving images as dangerous fantasies and deceitful illusions emitted by an always manipulative apparatus that 8 See Eugenie Brinkema's endeavor to put forward a radically formalist theory that engages with "subjectless affect, bound up in an exteriority, uncoupled from emotion, interiority, expressivity, mimesis, humanism, spectatorship, and bodies" (Brinkema 2014, 45), thus, one that would be apt to analyse intensities that point beyond the grasp of structuralist film theory, and yet, without being interested in the bodily activity of the spectator. I will argue that although this postulation seems to uns...

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Truthfulness and Affect via Digital Mediation in Audiovisual Storytelling

Tseng

2020

Beyond Media Borders, Volume 1

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This chapter investigates different ways in which the film techniques of digitally mediated images—such as found footage, diegetic camera, and computer screen—achieve story truthfulness and affective engagement in the viewer’s narrative interpretation process. The pursuit of truthful storytelling is to demonstrate objective facts, while mediated images in film are predominantly subjective. The chapter starts by reviewing the perennial paradox of two seemingly mutually exclusive narrative functions and then tackles the paradox by proposing a multi-leveled framework, synthesizing semiotic conceptualization and cognitive research findings. It also analyzes the various forms of digital mediated images in films over the last two decades and sheds light on how the functions of truthfulness and affective engagement can be closely intertwined rather than in conflict.

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Variation within Stability: Digital 3D and Film Style

Cited by 5 publications

References 18 publications

Pengalaman dan Pandangan Khalayak Pegiat Sinema Non-Produksi Terkait Teknologi 3D Sebagai Pendukung Saluran Komunikasi Film

Pengalaman dan Pandangan Khalayak Pegiat Sinema Non-Produksi Terkait Teknologi 3D Sebagai Pendukung Saluran Komunikasi Film

The Politics of Affect in Contemporary Latin American Films on Domestic Workers

Truthfulness and Affect via Digital Mediation in Audiovisual Storytelling

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