3-D Revolution: The History of Modern Stereoscopic Cinema by Ray Zone

By Ray Zone

In 2009, Avatar, a 3-D motion picture directed by way of James Cameron, turned the main winning movie of all time, a technological step forward that has grossed greater than $2.5 billion all over the world. Its seamless computer-generated imagery and stay motion stereo images successfully outlined the significance of 3-D to the way forward for cinema, in addition to all different at present evolving electronic screens. even though stereoscopic cinema begun within the early 19th century and exploded within the Nineteen Fifties in Hollywood, its current prestige as an everlasting style was once proven by means of Avatar's success.

3-D Revolution: The background of recent Stereoscopic Cinema strains the increase of contemporary three-D know-how from Arch Oboler's Bwana satan (1952), which introduced the 50s 3-D increase in Hollywood, to the rapidly-modernizing three-D this day. Ray quarter takes a entire strategy that not just examines the know-how of the movies, but in addition investigates the company, tradition, and artwork in their construction. Influencing new generations of filmmakers for many years, the evolution of 3D cinema expertise maintains to fill our theaters with summer time blockbusters and vacation megahits.

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22 3-D Revolution Norling had made the first commercial use of Polaroid material with a three-dimensional film titled In Tune with Tomorrow, a stop-motion animation produced in black and white and presented specially for Chrysler’s exhibit at the 1939 New York World’s Fair. A year later, Norling remade the film in Technicolor 3-D, retitling it New Dimensions. Because the three-strip Technicolor cameras were too bulky for the close-up photography required, Norling constructed a unique rotating filter attachment in front of the dual-camera lenses and made sequential frame exposures of red, green, and blue for separation negatives.

This film delighted the audience. Under the title New Dimensions, it had been originally commissioned by the Chrysler Corporation and screened in black-and-white 3-D at the 1939 New York World’s Fair. The film was released by RKO Radio Pictures with the title Motor Rhythm in 1953. The second feature of the evening was Andre de Toth’s The Stranger Wore a Gun, a Columbia film reassembled from existing elements by Grover Crisp at Sony Classics. In an e-mail of September 14, 2003, Crisp described the restoration of the film.

3-D effects with meteors and avalanches hurtle into audience space. Several times we see from the point of view of an alien. But 42 3-D Revolution eventually the audience member is pulled back into the otherworldly narrative, its atmosphere then subsequently reinforced by 3-D. The spatial experience in its surreality is an inherent part of the film’s strangeness. The Creature from the Black Lagoon (February 24, 1953), also directed by Jack Arnold, effectively uses stereoscopic underwater photography.

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