|Allegheny College, Meadville, PA 16335|
Please note that this double issue will overlap Vols. 37-38. The issue to follow will be V. 38, n. 2 (Winter 2013-14).
Old Tropes in New Dimensions: Stereoscopy and Franchise Spectatorship
Caetlin Benson-Allot is assistant professor of English and film and media studies at Georgetown University. She is the author of Killer Tapes and Shattered Screens: Video Spectatorship from VHS to File Sharing (University of California Press, 2013) and articles on intersections of spectatorship and home video platforms, gender and 3D cinema aesthetics, and contemporary film genres, among other subjects.
Removing the Pane of Glass: The Hobbit, 3D High Frame Rate Filmmaking, and the Rhetoric of Digital Convergence
Julie Turnock is assistant professor of media studies and cinema studies at the University of Illinois, Urbana/Champaign, in the College of Media. She is the author of Plastic Reality: Special Effects, Technology, and the Emergence of 1970s Blockbuster Aesthetics (forthcoming, Columbia University Press). She has published on special effects of the studio era, the 1970s, and recent digital cinema in Cinema Journal, Film History, Film Criticism, and New Review of Film and Television Studies.
Sensual Visions: 3-D, Medieval Art, and the Cinematic Imaginary
Alison Griffiths is professor of film and media studies at Baruch College, CUNY, and at the CUNY Graduate Center. She is the author of Wondrous Difference: Cinema. Anthropology, and Turn-of-the-Century Visual Culture (Colombia, 2002), Shivers Down Your Spine: Cinema, Museums, and the Immersive View (Colombia, 2008), and interdisciplinary essays of 19th century visual culture, museums, and intersections across cinema and medieval visual studies. This essay forms part of a book tentatively titled "Sensual Seeing and the Cinematic Imaginary in Medieval Art." A companion essay on special effects and art from the Middle Ages appeared in the summer 2010 issue of Journal of Visual Culture.
Tangible Specters: 3-D Cinema in the 1910s
Katharina Loew is assistant professor of German and cinema studies at the University of Oregon. Her research focuses on silent cinema, early and classical film theory, and film technology and special effects. She is currently completing a book manuscript on the impact of special effect technologies on German film during the silent era.
The Dimensional Image: Overlaps in Stereoscopic, Cinematic, and Digital Depth
Brooke Belisle is 2014 ACLS New Faculty Fellow and visiting assistant professor at Stony Brook University. Her teaching and research contextualize emerging digital practices within the history of visual culture, relating experimental formats across photographic, cinematic, and computational media.
High frame rate filmmaking, in which movies are captured and projected at rates faster than the traditional 24 frames per second, has been promoted as a way to “improve” the experience of 3D blockbuster event films. The essay traces the history of HFR, its status as an industrial novelty, and its aesthetic reception. The analysis troubles commonsense notions about realism in the cinema, especially that technology should strive for a sense of more “direct” or “unfiltered” realism, whether characterized as greater perceptual realism or less evident mediation. Amidst the industry-wide changeover to digital capture and projection and the rhetoric around digital convergence, high frame rate filmmaking provides a revealing and contradictory discussion about what an aesthetic of contemporary cinema should be.
This essay explores a range of evocative connections between contemporary 3-D cinema and art from the Middle Ages. An embodied and sensorially rich spectatorial experience defines both 3-D and medieval objects such as altarpieces, sculptures designed to open to reveal additional objects within, and reliquaries (sculptures of body parts containing fragments of bone or other remains). The art objects and images from both eras caressed the senses, premised on the idea that “faith” in what you saw (or heard) would trigger a heightened engagement. The essay considers three dimensionality in relation to corporeal vision and immersion into the image, 3-D as adornment, and the distinct forms of embodiment and belief in medieval art and contemporary 3-D cinema.
Between 1909 and 1914, Europe saw a wave of multi-media performances that featured three-dimensional cinematic images in color with synchronized sound on a physical stage. These shows, with fantastical names like Alabastra and Kinoplastikon, were essentially cinematic adaptations of the Pepper’s Ghost illusion, the very same technique that facilitated Tupac Shakur’s spectacular resurrection at the Coachella Music Festival in 2012. Set on a seemingly regular stage, Alabastra, Kinoplastikon et al. evoked the presence of live performers in the “here and now.” Far more radically than other types of 3-D cinema, these shows sought to obliterate the inherent separation between moving image and spectator, simultaneously negating the apparatus and calling attention to its technological marvels.
The current fashion for digital 3-D has renewed interest in the history of nineteenth century stereoscopic media. This article reconsiders the intertwined history of stereoscopic and cinematic representation to ask how new media may reposition old possibilities. Between the emergence of photography and cinema, techniques for producing spatial and temporal depth often overlapped and complemented one another. Hybrid formats of this period—such as 3-D zoetropes, stereopanoramas, and “time studies”—combined stereographic and cinematic strategies in a range of effects. Using digital tools, contemporary media artists re-invoke these “pre-cinematic” hybrids to test the dimensions of the “post-cinematic” image.
Robert B. Pippin, Fatalism in American Film Noir: Some Cinematic Philosophy
by Eliot Bessette
Shahab Esfandiary, Iranian Cinema & Globalization: National, Transnational, and Islamic Dimensions
by Sara Saljoughi
Mary O'Brien, Post-Wall German Cinema and National History: Utopianism and Dissent
by Gozde Naiboglu
Woman Make a Stand: The 63rd Berlin Film Festival
by Gerd Gemunden
Cannes 2013: Close-Ups and Close Encounters
by Karin Badt