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