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Aesthetics of Stereoscopic Cinema

Barbara Flueckiger

Although stereoscopic cinema was invented very early in the history of film, it did not become the standard for cinematic representations. With the latest digital wave of stereoscopic 3D cinema many shortcomings of earlier technologies have been eliminated, but debate remains about the aesthetic principles of stereoscopy. This article explores and evaluates basic approaches to aesthetic design in stereoscopic films.

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Analyzing Stylistic Patterning in Film to Establish the Cinematographer as a Coauthor: A Case Study of Gregg Toland

Philip Cowan

). Both images are the subject of detailed analysis by Bazin (1967 and 1948 , respectively), both images represent a “new style” of filmmaking, which exploited deep focus and long takes of continuous action in the 1940s ( Madsen 1974: 284 ), and finally

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Aesthetics of Slowness, Aesthetics of Boredom

Productivity and Tedium in the Cinema of Tsai Ming-liang

Giulia Tronconi

( Days , Tsai, Homegreen Films). The importance of the long take as Days’ principal narrative strategy is better understood in light of Bazin's writings on the topic. Bazin saw the deep focus long take as “a dialectical step forward in the history

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Mr. Hulot's Invisible Gorilla

Jacques Tati and Inattentional Blindness

Eric Faden, Aaron Mitchel, Alexander Murph, Taylor Myers, and Nathan C. Ryan

are exceptions. Auteurs like Orson Welles, William Wyler, and John Ford (among others) routinely featured deep focus sequence shots. Similarly, Tati's films do not exclusively use long take, deep focus shots but occasionally employ classical continuity

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The Richness of a Narrative Arrest

Performance and Scenic Composition in the Cinema of William Wyler

Johannes Riis

distinguish between shallow and deep focus, that is, what in the scene remains sharp or what is allowed to be blurry. In the analysis of Wyler's cinema, I have found it helpful to distinguish between two types of narrative arrests, depending on how narrow or

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Disruptive Technology

Social Media from Modiano to Zola and Proust

Elizabeth Emery

among books and not people, in stillness rather than conversation, creates a remarkable visual and textual narrative establishing him as a twentieth-century writer caught between the alleged deep focus of the nineteenth century and the violated privacy

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Inclusive innovation and sustainable development in affordable habitat

From the linear intervention model to Social Technological Systems

Facundo Picabea

Circuit (IPC). The idea was to revisit the lessons learned from Programa Litoral and design a new intervention strategy with a deeper focus on the housing and capacity building participatory dynamics, paying attention to some features specific to the

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Book Reviews

Tico Romao, Libby Saxton, Pete Turner, and Kristen Whissel

the long take and deep focus cinematography, to preserve the spectator's perceptual and interpretational ambiguity. In turn, Plantinga approaches Jean Epstein, Béla Balázs, and Siegfried Kraucer as “revelationists” concerned with the cinema's ability