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[null,"1.","Record Nr.",null,"UNINA9910462908503321"]
[null,null,"Autore",null,"Rogers Ariel"]
[null,null,"Titolo",null,"Cinematic appeals : the experience of new movie technologies / / Ariel Rogers"]
[null,null,"Pubbl/distr/stampa",null,"New York : , : Columbia University Press, , [2013]"]
[{"$nulls":4},"©2013"]
[null,null,"ISBN",null,"0-231-53578-3"]
[null,null,"Descrizione fisica",null,"1 online resource (353 p.)"]
[null,null,"Collana",null,"Film and Culture Series"]
[{"$nulls":4},"Film and culture"]
[null,null,"Disciplina",null,"302.23/43"]
[null,null,"Soggetti",null,"Motion picture audiences"]
[{"$nulls":4},"Technology in motion pictures"]
[{"$nulls":4},"Cinematography - Technological innovations"]
[{"$nulls":4},"Digital cinematography"]
[{"$nulls":4},"Electronic books."]
[null,null,"Lingua di pubblicazione",null,"Inglese"]
[null,null,"Formato",null,"Materiale a stampa"]
[null,null,null,"Livello bibliografico","Monografia"]
[null,null,null,"Note generali","Description based upon print version of record."]
[null,null,null,"Nota di bibliografia","Includes bibliographical references and index."]
[null,null,"Nota di contenuto",null,"Front matter -- Contents -- List of Illustrations -- Acknowledgments -- Introduction: Moving Machines -- 1. \"Smothered in Baked Alaska\": The Anxious Appeal of Widescreen Cinema -- 2. East of Eden in Cinema Scope: Intimacy Writ Large -- 3. Digital Cinema's Heterogeneous Appeal: Debates on Embodiment, Intersubjectivity, and Immediacy -- 4. Awe and Aggression: The Experience of Erasure in The Phantom Menace and The Celebration -- 5. Points of Convergence: Conceptualizing the Appeal of 3D Cinema Then and Now -- Notes -- Selected Bibliography -- Index -- Back matter"]
[null,null,null,"Sommario/riassunto","Cinematic 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 "]
[{"$nulls":4},"and the human experience shape and respond to each other over time."]