Titlebook: Die ?sthetisch-narrativen Dimensionen des 3D-Films; Neue Perspektiven de Markus Sp?hrer Book 2016 Springer Fachmedien Wiesbaden 2016 3D-Fil

Volatile-Oils

Gingivitis

Madrigal

贊成你

有毛就脫毛

Estimable

Minikin

Stepping Out: Victory and Utopia in the 3D Instalments of the , Franchise,euer?s theories of the classical Hollywood musical. It delineates how the utopia that these films present to audiences is aesthetically accentuated and renegotiated through the 3D effect. It argues that the characters? mastery of the 3D spaces secures their victory in specific dance sequences. By pa

MOTTO

Alfred Hitchcocks , (1954): 3D als Strategie des narrativen Bildraums,), Hitchcock’s only film shot in “3D Natural Vision”. In the course of a detailed analysis, Kerstin Rubes reformulates and contrasts Sheldon Hall’s (2004) and Peter Bordonaro’s (1976) analyses of the film. Based on the concept of 3D as a “stylistic device” (Jockenh?vel 2014), Rubes’ analysis focusse

先行

,. Das Unbewusste des 3D-Kinos 1953,n Cold War fiction. Moreover the extraterrestrial creatures had to make a forced landing as their spaceship was damaged. According to Schr?ter’s aesthetic analysis this film does not only narrate an unusual story. Furthermore it outstands because of the aesthetic potentials of stereoscopic images an

金絲雀

, (Werner Herzog, 2010) oder: Zur Ko-Existenz (audio-)visueller Praktiken, a means of spectacularisation or mere action. Rather, the focus is on the visualisation of the evolutionary transformations of the “hidden life” (Balazs 1952) of the nearly 350,000 years old Chauvet Cave in South France, manifest in the “l(fā)ittle things” such as cave paintings, handprints, skeleton r