Titlebook: 3-D Cinema and Trauma; Poetics of Remembran Dor Fadlon Book 2022 The Editor(s) (if applicable) and The Author(s), under exclusive license t

arsenal

esculent

fastness

大范围流行

Corporeal

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

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

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

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

candle

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