Abstract
Stereoscopic cinema and new media ask us to consider the screen; not just the screen in the movie theatre auditorium but also the hard-bodied screens of computer monitors, television sets and hand-held devices that can produce three-dimensional (3D) images. While stereoscopy’s multiple optical illusions suggest that objects are within reach of our fingertips or that we are situated in 3D landscapes that stretch back to infinity, these embodied moments are fleeting, ephemeral and transitory. In each case, there is no longer a viewing body opposite, and at a distance from, the screen but constant reconfigurations of a shared screen space. Through particular attention to moments of negative parallax (wherein the content of the moving image appears to come towards the audience), this article addresses the implications that these points have for a fundamental ontology of the 3D film.
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