Illusory touch and apparent depth. Haptic visuality and immersion in 3D cinema

Marcin Zwolan

Uniwersytet Gdański
https://orcid.org/0000-0003-3707-2748


Abstract

Haptic illusion and immersion is recognised as typical of 3D cinema, and the article focuses on questioning the durability of this illusion. The discourse is divided into three parts. The first part outlines the theory of haptic visuality and immersion in 3D films with the help of Miriam Ross’ concept of hyper-haptic visuality and Yong Liu’s notion of three reception-based modes of realism in a stereoscopic image. The second part introduces these ideas into the analysis of four unconventional 3D films: Alfonso Cuarón’s Gravity, Gaspar Noé’s Love, Takashi Miike’s Hara-Kiri: Death of a Samurai and Werner Herzog’s Cave of Forgotten Dreams. The third section revolves around Bi Gan’s Long Day’s Journey Into Night, which is a prime example of the consistent use of a 3D image’s immersive quality, as well as the key to understanding the potential uses of stereoscopic images in arthouse cinema.


Keywords:

immersion, Bi Gan, tactility, haptic visuality, 3D film


Costanzo, William V. (2014). World Cinema Through Global Genres. Chichester: Wiley Blackwell.   Google Scholar

Eagan, Daniel (2019). A Dream Within A Dream: Bi Gan on Long Day’s Journey Into Night, [online]. Filmmaker Magazine. Access: https://filmmakermagazine.com/107170-a-dream-withina-dream/#.X9u2E9hKhPY/ [9.11.2020].   Google Scholar

Elsaesser, Thomas (2013). The Return of 3-D: On Some of the Logics and Genealogies of the Image in the Twenty-First Century. Critical Inquiry, 39(2), 217–246.
Crossref   Google Scholar

Elsaesser, Thomas (2015). The Persistence of Hollywood: From Cinephile Moments to Blockbuster Memories. London – New York: Routledge.   Google Scholar

Elsaesser, Thomas i Hagener, Malte (2015). Kino jako skóra i dotyk. W: Elsaesser, Thomas i Hagener, Malte (red.). Teoria filmu: wprowadzenie przez zmysły. Tłum. Konrad Wojnowski. Kraków: Universitas, 148–172.   Google Scholar

Engber, Daniel (2015). The Misunderstanding of 3D, [online]. The New Yorker. Access: https://www.newyorker.com/culture/cultural-comment/the-misunderstanding-of-3-d/ [14.11.2020].   Google Scholar

Felis, Paweł T. (2015). Porno w 3D, czyli „Love” Gaspara Noégo i seks sentymentalny, [online].Wyborcza.pl. Dostęp: https://wyborcza.pl/1,101707,17959758,Cannes_2015__Porno_w_3D__czyli__Love__Gaspara_Noego.html?disableRedirects=true/ [10.12.2020].   Google Scholar

Gencarelli, Mike (2012). Takashi Miike talks about making “Hara-Kiri: Death of a Samurai”, [online]. MediaMikes.com. Access: https://mediamikes.com/2012/07/takashi-miike-talks-aboutmaking-hara-kiri-death-of-a-samurai/ [30.11.2020].   Google Scholar

Kohn, Eric (2011). Takashi Miike’s 3-D “Hara-Kiri” Falls Short Of Its Bloody Potential, [online]. IndieWire. Access: https://www.indiewire.com/2011/05/cannes-review-takashi-miikes-3-d-harakiri-falls-short-of-its-bloody-potential-54089/ [30.11.2020].   Google Scholar

Lee, Maggie (2011). Hara-kiri: The Death of a Samurai: Cannes 2011 Review, [online]. The Hollywood Reporter. Access: https://www.hollywoodreporter.com/review/hara-kiri-death-a-samurai-190351/ [30.11.2020].   Google Scholar

Liu, Yong (2018). 3D Cinematic Aesthetics and Storytelling. London: Palgrave Macmillan.
Crossref   Google Scholar

Marks, Laura U. (2000). The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham: Duke University Press.
Crossref   Google Scholar

N.a. (2011). Tale of Hanshiro the samurai returns to the Croisette, [online]. Festival de Cannes. Access: https://www.festival-cannes.com/en/72-editions/retrospective/2011/actualites/articles/   Google Scholar

tale-of-hanshiro-the-samurai-returns-to-the-croisette/ [29.11.2020].   Google Scholar

Newman, Nick (2015). Gaspar Noé Talks the Sentimental Boner of ‘Love’, Pubic Hair, and Equal Pleasure, [online]. TheFilmStage.com. Access: https://thefilmstage.com/gaspar-noe-talks-thesentimental-boner-of-love-pubic-hair-and-equal-pleasure/ [2.12.2020].   Google Scholar

Ross, Miriam (2015). 3D Cinema: Optical Illusions and Tactile Experiences. Hampshire – New York: Palgrave Macmillan.
Crossref   Google Scholar

Sobchack, Vivian (2014). Sci-Why?: On the Decline of a Film Genre in an Age of Technological Wizardry. Science Fiction Studies, 41(2), 284–300.
Crossref   Google Scholar

Tatarska, Anna (2015). Cannes 2015, dzień dziewiąty: wytrysk w 3D. “Love” Gaspara Noe, [online]. Onet.pl. Dostęp: https://kultura.onet.pl/film/wiadomosci/cannes-2015-dzien-dziewiaty-wytryskw-3d-love-gaspara-noe/cgj0vjp/ [30.11.2020].   Google Scholar

Vuren, Mitchell van (2020). Lucid Dreaming in the Film Theater: A Trans-Spatial and Transcultural Approach to Long Day’s Journey into Night. Junctions: Graduate Journal of the Humanities, 5(1), 90–101.   Google Scholar

Webb, Beth (2015). Revealed: the 3D sex odyssey set to scandalise Cannes, [online]. The Telegraph. Access: https://www.telegraph.co.uk/film/love/gaspar-noe-3d-sex-cast-cannes/ [2.12.2020].   Google Scholar

Weetch, Owen (2016). Expressive Spaces in Digital 3D Cinema. London: Palgrave Macmillan.
Crossref   Google Scholar

Williams, Blake (2019). Interview: Apt Pupil: Bi Gan on Long Day’s Journey Into Night, [online]. Cinema Scope. Access: https://cinema-scope.com/cinema-scope-magazine/apt-pupil-bi-gan-onlong-days-journey-into-night/ [26.11.2020].   Google Scholar

Williams, Linda (1991). Film Bodies: Gender, Genre, and Excess. Film Quarterly, 44(4), 2–13.
Crossref   Google Scholar


Published
2021-09-15

Cited by

Zwolan, M. (2021). Illusory touch and apparent depth. Haptic visuality and immersion in 3D cinema. Media - Culture - Social Communication, (17). https://doi.org/10.31648/mkks.6439

Marcin Zwolan 
Uniwersytet Gdański
https://orcid.org/0000-0003-3707-2748