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This paper covers the history of stereoscopic 3D cinema in its technical, aesthetic and technological aspects. From the construction of this context, and through a time frame, we sought to understand what has changed in the mise-en-scène of stereoscopic 3D films from the 1950s to the present day. We assumed that the use of 3D has indeed changed a lot. For this study, we selected two stereoscopic films, one representative of each historical period chosen: Dial M to Kill (1953) and Gravity (2013). Through a detailed analysis, we sought to point out the main uses of mise-en-scène in each film, as well as to thoroughly investigate significant patterns of continuity and stylistic change - that is, to understand how the filmmakers employed, and still employ, stereoscopic techniques within cinematic staging.
About the author
Priscilla Durand ha conseguito una laurea in comunicazione sociale presso l'Università Federale del Paraíba, un Master in Comunicazione nella linea di Estetica e Culture dell'Immagine e del Suono presso l'Università Federale del Pernambuco e la mobilità studentesca per GENE (Gruppo di Narrazioni Emergenti), del Programma Immagine e Suono dell'Università Federale di São Carlos.
