Text

E-book Screen Space Reconfigured

---

Penilaian

---

Immersed in digital 3D stereoscopic vision, we f loat in a low orbit above Earth’s atmospheric threshold, which glows blue against an otherwise black screen. A velvety, thick silence fortif ies the authenticity of this senso-rial encounter made possible by way of seamless integration between cinematographic excellence and high-performance computation. In this visually immense opening sequence of director Alfonso Cuarón’s f ilm Gravit y (2013), a few minutes later we see astronaut Dr. Ryan Stone (Sandra Bullock) being hurled into the depth of space after a deadly shower of space debris severs her lifeline to the ship. Our gaze trails Dr. Stone’s detachment and subsequent spin into the far distance. Within one continuous camera movement, and as such distinct from its 20th-century emblematic predeces-sors, Gravit y’s virtual camera moves from a buoyant overview increasingly closer until at some point we effortlessly penetrate the thin layer of the protective visor into the inner helmet’s claustrophobic atmosphere.1 The shot ultimately cuts to Dr. Stone’s point of view, i.e. into her head. This is the 21st-century plastic screen space tailored for a f loating spectator, where any connection regardless of scalar, material, or temporal disparities can be rendered into a coherent, elastic, and convincing cinematic space. Measured by its revenues as well as critical appraisal, Gravit y’s employment of the capabilities of digital 3D to create a novel, seamless rendering of deep as well as proximate space was heralded as a victory for linear, theatrical cinema in an age characterized by cinema’s radical relocation to new arenas and platforms.2Gravit y presents us with a conf iguration of on-screen spatiality—or what we with an art historical terminology could call pictorial space—that is distinct for 21st-century moving images. As outlined in detail above, this is a profoundly malleable cinematic space that, through visceral effects, invites continuous f loating and traversal across vast distances, across cosmic and earth-bound positions, physical boundaries, and the threshold between human and non-human agents. Gravit y thus seems to conf irm William Brown’s claim of digital cinema more generally, that it tends to favor an intensif ied and unbroken spatial continuity that ‘suggests a mastery of space that is beyond the abilities of the analogue camera alone’ but within the capacities of the virtual camera.3 With digital 3D, the continuity effect is further amplif ied, played out along the z-axis and into the space of the spectator. Indeed, by now, Gravit y has become an emblem of the viability of digital 3D cinema, with this hyper-continuous, stereoscopic spatiality as its main draw.4 However, as Thomas Elsaesser has convincingly argued, digital 3D is but ‘one element among many’ that is ‘resetting our idea of what an image is and, [and] in the process, is changing our sense of spatial and temporal orientation and our embodied relation to data-rich simulated environments’ in the 21st cent u r y.5 Echoing Erwin Panofsky’s seminal work on the Renaissance linear perspective, for Elsaesser 3D is a ‘symbolic form’ for this century; an emblem of a whole set of novel spatial conf igurations and relations dispersed across contemporary screens. As Elsaesser contends, the proliferation of new spatial renderings that we are seeing across 21st-century screens does not simply produce a particular kind of view but also corresponds to the production of an ‘ideal spectator’ who is ‘f loating, gliding or su spended.

---

Ketersediaan

Informasi Detail

Judul Seri

-

No. Panggil

791.43 SAE s

Penerbit

Amsterdam : Amsterdam University Press., 2020

Deskripsi Fisik

333 hlm

Bahasa

English

ISBN/ISSN

9789048529056

Klasifikasi

791.43

Tipe Isi

text

Tipe Media

computer

Tipe Pembawa

online resource

Edisi

-

Subjek

Motion Pictures, Movies

Info Detail Spesifik

-

Pernyataan Tanggungjawab

-

Versi lain/terkait

Lampiran Berkas

Komentar

---

Anda harus masuk sebelum memberikan komentar