arsenal
发表于 2025-3-25 06:48:21
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esculent
发表于 2025-3-25 07:55:09
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fastness
发表于 2025-3-25 15:35:08
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大范围流行
发表于 2025-3-25 16:29:34
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Corporeal
发表于 2025-3-25 23:39:49
Moritz Schwerthelm,Daniela Cornelia Stixat the popularity of 3-D cinema in the fifties was a Hollywood response to the threat posed by television and declining box office sales. In its recent incarnation, digital 3-D (D3-D) is perceived as an incentive to convince theatre owners to switch to digital projection, and as a response by Hollyw
淘气
发表于 2025-3-26 01:26:37
https://doi.org/10.1007/978-3-658-28273-8ism and realism and the qualities of stereoscopic images. 3-D, by virtue of its technological poetics, can be used to visually illustrate the limits and plasticity of post-traumatic knowledge and memory. The dualities associated with 3-D cinema, such as belief and disbelief, realism and illusionism,
–LOUS
发表于 2025-3-26 05:21:18
550 Keywords Bankenaufsichtsrechtagree that 3-D cinema’s protrusions into the negative parallax space were aggressive, I suggest this poetic was not merely gimmicky but also carried important cultural and social significance through the embodied experience it elicited. Simply put, objects that intrude into the negative parallax spa
有角
发表于 2025-3-26 11:44:21
https://doi.org/10.1007/978-3-658-28297-4tive parallax space, can be interpreted as a variation on the action-image. More particularly, this chapter argues that fifties’ 3-D cinema gave rise to “radioactive fossils,” which challenged hegemonic knowledge, and made use of the negative parallax space as an “any-space-whatever” in which action
吵闹
发表于 2025-3-26 16:39:50
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candle
发表于 2025-3-26 19:14:01
https://doi.org/10.1007/978-3-658-28372-8o, and reach, a sense of equilibrium and inclusion within hostile, unfamiliar worlds. Such formulation forgoes questions of mastery, and instead positions the body as enthralled in a continuous process of becoming. The body is embedded in the world in a manner that rejects questions mastery, since m