By Miriam Ross
3D Cinema: Optical Illusions and Tactile reviews questions the typical frameworks used for discussing 3D cinema, realism and spectacle, for you to absolutely comprehend the embodied and sensory dimensions of 3D cinema's certain visuality.
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Additional info for 3D Cinema: Optical Illusions and Tactile Experiences
While the use of positive parallax placement in this instance suggests a traversable space, there is a perceptible distinction between the traversable empty space of the auditorium between viewer and action when watching the stage play, and the traversable space that is created in the ﬁlm. Speciﬁcally, the grain of the ﬁlm stock is noticeable when watching Dial M for Murder, particularly on the Warner Brothers 2012 Blu-ray release. When presented stereoscopically, the heavy grain in the image makes it clear that the character’s space is thick and of a different consistency from the seemingly empty space in the real world.
Although Dial M for Murder has much longer shots and less rapid cutting, there is a similar sense of presence and non-presence in the construction of its overt stereoscopic depth conﬁgurations. When Margot reaches out to the audience as she struggles under Swann’s 40 3D Cinema strangling hands, her hand is present in the auditorium space, beckoning to be grasped. Once she has reached the scissors she seeks, leans forward to stab Swann and then collapses under the weight of his body, a new angle is presented and the cameras face Swann side on as he recoils and falls away from Margot.
Moreover, the way in which stereoscopic shots allow objects (particularly Sully’s head and Margot’s hand) to ﬂoat out from their background and exist in unspeciﬁed screen space means that we are often left without clear spatial coordinates. The familiarity of these body parts is made fresh, with an allure that speaks to their seemingly there-and-not-there status. Michael Kerbel speaks of ‘inherent artiﬁcialities’ in 3D cinema that ‘prevent us from completely suspending our disbelief’ (1980: 17).