3D cinematic ontologies and narrative engagement

Abstract

This paper is focused on analysing the uniqueness of stereoscopic 3D visuality and its more and more matured narrative potency in the digital incarnation. Drawing on Kracauer's classic remark (1961) that ‘the nature of film is the redemption of physical reality,’ first I argue for 3D's enhanced ability to (re)construct and recreate a perceptual ‘hyper-reality’ based on 3D's (actual or virtual) two-camera mechanism and its integration with digital technologies as well as High Frame Rate (HFR), 360 Degree Production, and 4 K/8 K. Furthermore, based on 3D's cross-parallax ontologies, I argue that the alternation or layering of flatness and depth in 3D visuality enhances 3D narrative by highlighting the dramatic qualities of characters and volumetric spaces. I eventually compare the 3D and 2D versions of the opening scene in Gravity (2013) to exemplify the unique and transformative mode of ‘3D realism’ – the immersive 3D stereoscopic hyperrealism.