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Compositing multiple plates into a single image creates challenges for lighting, grading and editing, while the distinct methods of each produces aesthetic challenges in creating apparently coherent space. The challenge is all the greater because digital screens and projectors afford only a...
This article argues that Avatar (James Cameron, 2009) is a key moment in the development of stereoscopy, cinematography and animation. On both an aesthetic/formal level and in terms of its narrative, Avatar talks back to the origins of Victorian stereography, American cinematography and the...
This article offers a theoretical analysis of the 3D cinema experience, paying particular attention to the paradoxical manner in which a further apparatus, medium, or filter – namely 3D glasses – enables what many viewers perceive as a greater level of realism in the cinematic image. That 3D...
This article proposes that motion capture (mocap) animation relates movement to cinema in a unique way, in that rather than being a quality of the profilmic, in mocap animation movement is itself directly the profilmic. Motion capture records imagery consisting of data of a profilmic object’s...
This article demonstrates first that, in epistemological terms, Avatar relies on scientific ‘documents’ to legitimize its radical political–aesthetic fantasy with such anthropological and historical accuracy that it attains documentary status. The author shows that Avatar constructs its viewers...
Ecological approaches give an insight to the story-world of Avatar. They are extended in this article to facilitate an exploration of the connectivity between the feature film and its associated texts (production culture disclosures, making of featurettes, interviews). Drawing on the ecological...
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