LEADER 03431nam 2200685 450 001 9910462908503321 005 20200520144314.0 010 $a0-231-53578-3 024 7 $a10.7312/roge15916 035 $a(CKB)2670000000488806 035 $a(EBL)1321265 035 $a(OCoLC)862940454 035 $a(StDuBDS)EDZ0000744852 035 $a(MiAaPQ)EBC1321265 035 $a(DE-B1597)459275 035 $a(OCoLC)862327426 035 $a(OCoLC)870891155 035 $a(DE-B1597)9780231535786 035 $a(Au-PeEL)EBL1321265 035 $a(CaPaEBR)ebr10820234 035 $a(CaONFJC)MIL562380 035 $a(EXLCZ)992670000000488806 100 $a20130416h20132013 uy| 0 101 0 $aeng 135 $aur||#|||||||| 181 $2rdacontent 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aCinematic appeals $ethe experience of new movie technologies /$fAriel Rogers 210 1$aNew York :$cColumbia University Press,$d[2013] 210 4$dİ2013 215 $a1 online resource (353 p.) 225 0 $aFilm and Culture Series 225 0$aFilm and culture 300 $aDescription based upon print version of record. 311 $a0-231-15917-X 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tList of Illustrations --$tAcknowledgments --$tIntroduction: Moving Machines --$t1. "Smothered in Baked Alaska": The Anxious Appeal of Widescreen Cinema --$t2. East of Eden in Cinema Scope: Intimacy Writ Large --$t3. Digital Cinema's Heterogeneous Appeal: Debates on Embodiment, Intersubjectivity, and Immediacy --$t4. Awe and Aggression: The Experience of Erasure in The Phantom Menace and The Celebration --$t5. Points of Convergence: Conceptualizing the Appeal of 3D Cinema Then and Now --$tNotes --$tSelected Bibliography --$tIndex --$tBack matter 330 $aCinematic Appeals follows the effect of technological innovation on the cinema experience, specifically the introduction of widescreen and stereoscopic 3D systems in the 1950's, the rise of digital cinema in the 1990's, and the transition to digital 3D since 2005. Widescreen cinema promised to draw the viewer into the world of the screen, enabling larger-than-life close-ups of already larger-than-life actors. This technology fostered the illusion of physically entering a film, enhancing the semblance of realism. Alternatively, the digital era was less concerned with the viewer's physical response and more with information flow, awe, and the reevaluation of spatiality and embodiment. This study ultimately shows how cinematic technology and the human experience shape and respond to each other over time. 410 0$aFilm and culture 410 0$aFilm and Culture Series 606 $aMotion picture audiences 606 $aTechnology in motion pictures 606 $aCinematography$xTechnological innovations 606 $aDigital cinematography 608 $aElectronic books. 615 0$aMotion picture audiences. 615 0$aTechnology in motion pictures. 615 0$aCinematography$xTechnological innovations. 615 0$aDigital cinematography. 676 $a302.23/43 700 $aRogers$b Ariel$01031541 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910462908503321 996 $aCinematic appeals$92466616 997 $aUNINA