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The Richness of a Narrative Arrest

Performance and Scenic Composition in the Cinema of William Wyler

Johannes Riis

Bazin would later come to favor art house directors who treated characters as more or less unknowable, he appreciated how Wyler's depth of field liberated spectators from the director's guidance, letting spectators glance at events as they unfolded in

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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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Adapting the Rhetoric of Authentication of Riad Sattouf’s La Vie secrète des jeunes

Guillaume Lecomte

and non-professional actors re-enact the drawn events. Each episode is shot as a single long take. The use of a telephoto lens creates a short depth of field and makes the audience adopt the distant point of view of an unknown observer, while still

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Gradation of Emphasis in the CinemaScope Westerns of Anthony Mann

A Style Analysis

Sam Roggen

argued, filmmakers such as William Wyler and Orson Welles had been employing depth of field compositions in order to establish “a relationship between the viewer and the image which is closer to the viewer’s relationship to reality.” He pointed out that

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Wrist Clasps and Patriliny

A Hypothesis

Frank Battaglia

that merits attention,” in Hines, “Culture Groups and Ethnic Groups in Northern Germany In and Around the Migration Period,” Studien zur Sachsenforschung [hereafter SfurS ] 13 (1999): 227. 6 I argued for this “chronological depth of field” in

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“The physical anxiety of the form itself”

A Haptic Reading of Phil Solomon’s Experimental Films

Hava Aldouby

fragments translates into material excess, enhanced texture, and eradication of depth of field. The film experience tips toward haptic engagement, with abundant textural detail the exclusive substitute for photographic accuracy. As cinematic referencing is

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The Bunker and the Desert

On the Motif of the Cube-panel in Inside Mœbius

Renaud Chavanne

that occupies the panel and which also simulates depth and volume by drawing techniques: perspective, the coexistence of difference planes, depth of field, and so on. Conversely, the panel is a simplified version of a cube. So when Inside Mœbius

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DIY, im Eigenverlag

East German Tamizdat LPs

Seth Howes

makeshift flying machine hangs over a representation of the “death strip” at the center of the Berlin Wall. The Wall itself bisects the record cover as a dull, gray band, interrupting a geometric grid that suggests a depth of field whose vanishing point is

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A Cinema of Movement

Michele Barker

clusters of sand particles below. Perhaps cinematically, these events that my camera recorded made no sense: the GoPro’s fixed-focus lens, which is accomplished via a combination of a relatively short focal length and a very high depth of field, resulted

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Biased Render

Indigenous Algorithmic Embodiment in 3D Worlds

Joshua D. Miner

depth of field and motion blur. Indigenous game designers have employed lo-fi styles at a time when photorealistic styles and open-world structures have been made more viable by computationally demanding unbiased rendering methods and therefore more