By Miriam Ross
3D Cinema: Optical Illusions and Tactile stories questions the typical frameworks used for discussing 3D cinema, realism and spectacle, that allows you to absolutely comprehend the embodied and sensory dimensions of 3D cinema's special visuality.
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Extra info for 3D Cinema: Optical Illusions and Tactile Experiences
It is within this dynamic that the object casts its speciﬁc allure: the alluring object explicitly calls attention to the fact that it is something more than, and other than, the bundle of qualities that it presents to me [. ] And the object becomes alluring, precisely to the extent that it forces me to acknowledge this hidden depth, instead of ignoring it. (Shaviro, 2010: 10) The stereoscopic close-up’s allure is then further enhanced by the edits which cut away from the head. In the tradition of contemporary blockbuster ﬁlms, Avatar utilises short shots with frequent edits.
In this context, the material body is divorced from its natural sensorium, and the ensuing disembodiment means that the cognitive centre can be projected into a new space. More often than not, this new space is experienced through visual modes (for example, the many uses of avatars in online spaces where sight becomes the primary navigation tool), yet the strong commitment that users feel to their avatar bodies often suggests that other senses are employed and reembodiment takes place. Avatar produces a fantasy universe in which 44 3D Cinema full body displacement takes place, yet its basic premise also allows audiences to reﬂect on the avatar experience that they undertake at more mundane levels.
Avatar’s digital images do not include the same thickness that ﬁlm grain produces, but it is possible to perceive a similar thickness of space through the aforementioned moments of small objects and material in negative parallax space. In this way, there is a different quality to stereoscopic thick space that relates to the industrial and technical contexts in which these two different ﬁlms were made, but they both maintain a tactile quality that cannot be found in their ﬂat versions. Although there is no sense of a hard screen boundary in either ﬁlm, Dial M for Murder does work more strongly than other stereoscopic ﬁlms to create spatial barriers between audience and action.