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Spaces Mapped and Monstrous explores the paradoxical nature of 3D cinema and its place in today¿s visual landscape. Considering 3D¿s distinctive visual qualities and its connections to wider digital culture, Nick Jones situates the production and exhibition of 3D cinema within a web of aesthetic, technological, and historical contexts.
List of contents
List of Illustrations
Acknowledgments
Introduction
Part I: Contexts
1. History: The Long View of 3D Film and Theory
2. Visualization: From Perspective to Digital 3D
Part II: Mapped Spaces
3. Simulation: Dematerializing and Enframing
4. Immersion: Entering the Screen
5. Surveillance: Converting Image to Space, World to Data
Part III: Monstrous Spaces
6. Defamiliarization: Rethinking the Screen Plane
7. Distortion: Unfamiliar and Unconventional Space
8. Intimacy: The Boundedness of Stereoscopic Media
Conclusion: Seeing in 3D
Notes
Bibliography
Index
About the author
Nick Jones is a lecturer in film, television, and digital culture at the University of York. He is the author of Hollywood Action Films and Spatial Theory (2015).
Summary
Spaces Mapped and Monstrous explores the paradoxical nature of 3D cinema and its place in today’s visual landscape. Considering 3D’s distinctive visual qualities and its connections to wider digital culture, Nick Jones situates the production and exhibition of 3D cinema within a web of aesthetic, technological, and historical contexts.
Additional text
In this expansive inquiry, Nick Jones dispels the myth that 3D is simply a variant of planar cinema. For over a century, Jones contends, 3D has been vital to a shifting understanding of what images are and how we are mobilized through them. Encompassing both its experimental anamorphic facets and its complicity in the instrumentalization of the visual field, this account is a call for us to think 3D again.
