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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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Before and After Ghostcatching

Animation, Primitivism, and the Choreography of Vitality

Heather Warren-Crow

infuses the whole planet—and the entire film frame—with the primitivized vitality of its inhabitants. It permeates the cavern of the movie theater, as well. The stereoscopy of Avatar brings the vivacity of the alien, the ancient, the savage, the animal

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One Hundred Years of Photoplay: Hugo Münsterberg’s Lasting Contribution to Cognitive Movie Psychology

Andreas Baranowski and Heiko Hecht

art forms evolve. Like sound and color, the introduction of stereoscopy in film today is frowned upon by many. However, art and technology have always inspired and enriched each other. Filmmakers will continue to push the limits of the field, and in

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Book Reviews

Wyatt Moss-Wellington, Dooley Murphy, Robert Sinnerbrink, and Kirsten Moana Thompson

typically also granted to the hands. The “lifelike” ability to move one's head in VR is subserved by stereoscopy, per which two images are offset at the user's inter-pupillary distance, thus dovetailing with ordinary retinal disparity or natural stereopsis