3-D cinema: immersive media technology

Abstract

3-D cinema is a largely overlooked media within geographical critique. This omission is notable given both the sustained academic consideration afforded to other popular media, the medium's significant commercial and popular success, and its status as an 'affective' and captivating storytelling medium. With reference to film industry advertisements, the experiential dimensions of the 3-D cinematic encounter and its (popular) framing as an 'immersive' consumer experience are explored. In particular, the notion of 'immersion' is unpacked with reference to the medium's engineering and production techniques. In so doing, the intertwinement of the industrial desire for ever more 'immersive' and 'realistic' consumer experience is explored in relation to the engineering techniques exhibiting perceptual mimicry, or what could be termed 'mimetic engineering'. The association between 3-D cinema and 'tactile' images is then explored with reference to geographic literatures on 'haptics' and technologies of touch. A number of recent 'innovations' in these fields are drawn upon in order to complicate 3-D cinema's association with 'tactility'. In so doing, a technological shift towards the increasingly pervasive and sophisticated engagement of the wider multi-sensory palette is explored. Drawing upon recent media technology 'innovations', this persistent and relentless desire for ever more 'immersive' and perceptuallyconvincing media technology is explored in light of developing media geographies.

Pengalaman dan Pandangan Khalayak Pegiat Sinema Non-Produksi Terkait Teknologi 3D Sebagai Pendukung Saluran Komunikasi Film

“…Ciri khas dari teknologi 3D adalah adanya efek visual timbul dari layar. Ilusi visual tersebut muncul akibat kreasi teknologi yang menimbulkan kesan adanya kedalaman (Jackman, 2015). Permainan kedalaman visual ini yang bisa membuat khalayak ketika duduk di bioskop menonton film 3D dengan menggunakan kacamata 3D terlihat seperti mengangkat tangan mereka untuk mencoba meraih gambar atau menjadi tersentak akibat lemparan benda-benda dari layar (Ross, dalam Jackman, 2015).…”

“…Dimensi-dimensi indrawi dan perwujudan dalam pengalaman menjadi sentral dalam penyebaran istilah immersion (Jackman, 2015). Tidak sulit untuk melihat sinema 3D, sebuah medium yang didasarkan pada keterlibatan sensorik dan proprioseptif, menjadi terasosiasi dengan istilah immersion dalam industri film ketika keterlibatan khalayak yang dimaksud merupakan sesuatu yang berbeda; bukan saja hanya keterlibatan mental, melainkan juga keterlibatan dengan cara mengalami sendiri (Jackman, 2015). Unsur keterlibatan yang dimunculkan dalam sinema 3D ini memberi kesan pengalaman menonton yang lebih realistis bagi khalayak.…”

“…Para informan menyebutkan 3D sebagai suatu teknologi imersif yang memanfaatkan indra-indra manusia dan semakin melibatkan penontonnya dengan film (Zone, 2012;Jackman, 2015). Meski demikian, keterlibatan ini tingkatannya berbeda-beda, di mana ada informan yang melihat tidak ada keterlibatan signifikan yang ia rasakan, sementara informan lain menganggap keterlibatan terus menerus sepanjang film ini dapat menimbulkan rasa lelah.…”

Geography and virtual reality

“…Within cultural geography, there has been a growing interest in a wide range of popular visual media and technologies. While film has long been established as a site of geographical enquiry (see Aitken & Zonn, 1994), a number of scholars have turned attention to other forms of visual spatial technologies, processes and experiences elicited via video games (Ash & Gallacher, 2011), 3-D cinema (Jackman, 2015), i-Docs (Harris, 2017), digital media and imagery (Rose, 2016a). However, despite the exponential growth of the VR industry and its inherent geographical qualities, it has failed to gain critical attention from geographers.…”

Phenomenology, Pokémon Go, and Other Augmented Reality Games

“…On a phenomenological analysis on films see Sobchack ( 1992 ) and Baudry and Williams ( 1974 ). More in details, Baudry’s theory can be applied to Augmented Reality (Rhodes 2014 ), and it is possible to find analyses on cinema and Augmented Reality such as (Jackman 2015 ).…”