Widescreen Cinema

A Bio-Informational Theory of Emotion: Motion and Image Size Effects on Viewers

“…The film industry recognized this and promoted the new technology as being superior to live stage performances because it made things "larger than life" (Vardac, 1968). Wide-screen systems such as Cinerama and Cinemascope gave cinema a competitive edge over the upstart technology of television in the 1950s and 1960s because they provided a more compelling experience and made the audience feel as if they were really there (Belton, 1992).…”

“…Motion also plays an important role in aesthetic analyses and theories of film and television form (Amheim, 1933(Amheim, /1958Belton, 1992;Bordwell & Thompson, 1993;Zettl, 1973). The repertory of motions possible within the frame of a film or television presentation sets them apart from other artistic forms of representation (Sparshott, 1982).…”

Collective Screams: William Castle and the Gimmick Film

“…It represents “disreputable” novelty and invention following a wave of more official innovation on the part of the film industry in the early 1950s, an attempt by the industry to combat a precipitous drop in attendance conventionally attributed to the threat from television. David Skal rightly places the gimmick film as “part of a larger Hollywood movement in the fifties towards more expansive presentational modes” (259); John Belton's Widescreen Cinema is the definitive study of technological innovation in the 1950s 5 . In 1952, American movie audiences numbered forty‐two million, a drop from eighty million the year before (Limbacher 157), and such a plunge required a reaction from the industry: “In 1953, almost all of the major studios were aligned with at least one major manufacturer in an attempt to adopt an image or sound technology that they hoped would soon become the new industry standard” (Heffernan 18).…”

En busca del VRCinema. Del cine proto-inmersivo al cine inmersivo

“…En el ámbito de la Comunicación, desde una perspectiva centrada en la narración de historias basadas en la no ficción, destacan las experiencias inmersivas periodísticas de De la Peña et al (2010) y de Eva Domínguez (2012aDomínguez ( y 2012b, así como las de Gaudenzi (2009) y Gantier & Bolka (2011), en el documental. En narraciones de historias de ficción destacan autores como Cheng y Cairns (2005) y McMahan (2003, centrados en los videojuegos, o Rose (2011), Boas (2013), Holmberg (2003), Ryan (2004), Turkle (1997), Rabinowitz (1998), Huhtamo (1995), Paul (1993) o Belton (1992) en el ámbito de la producción cinematográfica ficcional.…”