標題: Titlebook: 3D Cinematic Aesthetics and Storytelling; Yong Liu Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 3D cinema.3D filmmaking. [打印本頁] 作者: informed 時間: 2025-3-21 17:17
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書目名稱3D Cinematic Aesthetics and Storytelling讀者反饋
書目名稱3D Cinematic Aesthetics and Storytelling讀者反饋學科排名
作者: 粗俗人 時間: 2025-3-21 20:15 作者: engrossed 時間: 2025-3-22 03:46 作者: 硬化 時間: 2025-3-22 05:52
https://doi.org/10.1007/978-3-030-37861-5sity Press. 2012), I argue that 3D’s contributions to both dramatic staging and narrational techniques are primarily rooted in the positive parallax space while complemented by limited use of the negative parallax effect, thus exemplifying the current predominance of the Aesthetics of Recession in digital 3D cinema.作者: 制定法律 時間: 2025-3-22 11:01 作者: 遺傳 時間: 2025-3-22 16:03 作者: transplantation 時間: 2025-3-22 20:43
A Brief Introduction to Dispersion Relationsinely different from 2D cinematic narratives? In this introductory chapter, I attempt to provide a historical overview of 3D’s technical issues and aesthetic development, in order to set up the framework for my main discussion of contemporary 3D cinematic narrative and aesthetics.作者: 松馳 時間: 2025-3-22 22:16
Micro-impact Assessment of Guangdong ETS,d discussion of contemporary 3D cinema’s distinctive narrative tropes and techniques, I conclude that digital?3D’s narrative effectiveness is tightly entwined with the new artistic paradigm of the Aesthetics of Recession.作者: syncope 時間: 2025-3-23 02:17
A Brief Introduction to Numerical Analysisique regime of ‘stereoscopic hyperrealism,’ considering stereoscopy alongside digital technologies and processes such as CGI, VFX and HFR. This overview sets up a historical and aesthetic framework for my subsequent discussion of contemporary 3D cinematic narrative and aesthetics.作者: animated 時間: 2025-3-23 08:28
Sums of the Powers of Successive Integers,g in different ways to complement or contrast with stereoscopic depth. Ultimately, I argue that the alternation or layering of flatness and depth enhances narrative by highlighting the dramatic and ontological qualities of characters and spaces.作者: 6Applepolish 時間: 2025-3-23 10:01 作者: 向下五度才偏 時間: 2025-3-23 17:49
Introduction: Stereoscopic Narrative, Spectacle, and 3D Ontology,o. Drug-drug interactions depend in part on the schedule of administration, absorption, method of administration, the capacity of either the drug and cannabinoids to inhibit CYP enzymes (inhibitory constant) or the ability to upregulate CYP enzymes. Phytocannabinoids and endocannabinoids are both me作者: 出血 時間: 2025-3-23 19:04
,From ‘Dimensional Effects’ to Digital 3D Cinema, and delight giver. Majority of controlled clinical trials supporting the medical use of cannabis/marijuana have been conducted with purified cannabinoids or single extract of Cannabis sativa (equimolecular proportion of Delta9-THC and CBD). At this time in the United States, the FDA has approved th作者: Jargon 時間: 2025-3-23 23:17 作者: gangrene 時間: 2025-3-24 03:20 作者: cushion 時間: 2025-3-24 06:35 作者: Arthropathy 時間: 2025-3-24 11:05 作者: Gudgeon 時間: 2025-3-24 17:17 作者: 妨礙 時間: 2025-3-24 21:46
Back Matteratment to operative reduction and stable internal fixation.. In the past decade there has been a worldwide acceptance of the operative approach to articular fractures of the distal end of the humerus, olecranon, and in some cases radial head. The publication of successful outcomes with operative tre作者: 微粒 時間: 2025-3-25 02:07 作者: 燕麥 時間: 2025-3-25 07:18
Between Depth and Flatness: Shaping Stereoscopic Ontologies,978-3-662-57291-7作者: 錯事 時間: 2025-3-25 09:28 作者: 剝削 時間: 2025-3-25 12:03 作者: START 時間: 2025-3-25 16:21
,From ‘Dimensional Effects’ to Digital 3D Cinema,on-medicinal use as of 2018. Crude cannabis is by far the most frequent source of cannabinoids for patients worldwide, few studies examine the therapeutic value of cannabis oils (for ingestion or topical use), or vaporized herbal cannabis. Cannabis affects the brain through interaction with the endo作者: 口音在加重 時間: 2025-3-25 23:12
,From ‘Redemption of Physical Reality’ to ‘Recreation of Perceptual (Hyper)reality’, showed that 0.2% colchicine for 24?h was the most efficient for production of polyploid plants. The percentage of tetraploid plants and the survival rate were lowered by the increasing the treatment time. In addition, the leaf index and height of tetraploid plants exhibited a significant decrease c作者: Insensate 時間: 2025-3-26 00:45 作者: thyroid-hormone 時間: 2025-3-26 08:07 作者: Definitive 時間: 2025-3-26 11:15 作者: 擁護 時間: 2025-3-26 16:13 作者: Provenance 時間: 2025-3-26 17:15
Back Matterthy, and an overall functional disability.. There is a well-defined role for the use of cannulated screws in some complex fracture patterns, and with the development of smaller cannulated screws the future holds even more promise for their usefulness.作者: coalition 時間: 2025-3-26 21:19
Trek Into Darkness. (2013, and .The Great Gatsby. (2013). The book is an investigation into contemporary forms of stereoscopic storytelling derived from a unique, long-existing mode of cinematic illusions.?.978-3-030-10258-6978-3-319-72742-4作者: 女歌星 時間: 2025-3-27 04:52
A Brief Introduction to Dispersion Relationscan 3D technology, in its new digitised incarnation, precisely contribute to visual storytelling beyond visual trickery or spectacle that is also genuinely different from 2D cinematic narratives? In this introductory chapter, I attempt to provide a historical overview of 3D’s technical issues and ae作者: 易于 時間: 2025-3-27 07:53
A Brief Introduction to Numerical Analysisdecades, I illustrate the aesthetic transformations that have shaped 3D from the previous booms to its current digital incarnation. I focus on the relationship between spectacle and narrative, and also consider the concept of ‘realism’ and discuss its complex connotations within different historical作者: 罵人有污點 時間: 2025-3-27 11:41
https://doi.org/10.1007/978-1-4842-8975-4gies. Moreover, with reference to Kracauer’s classic remark?(.. Oxford: Oxford University Press, 1961) that ‘the nature of film is the redemption of physical reality,’ I argue for 3D’s enhanced ability to (re)construct and recreate a ‘hyper-reality,’ based on 3D’s (actual or virtual) two-camera mech作者: 射手座 時間: 2025-3-27 14:21
https://doi.org/10.1007/978-1-4842-8975-4distinctive spatiotemporal configurations that result from the splicing of original footage and digital effects in contemporary cinema—as well as her consideration of the multiple connotations of ‘spectacle.’ I categorise 3D timespaces into three types: primary stereoscopic timespace, dynamic stereo作者: 變色龍 時間: 2025-3-27 19:28 作者: Transfusion 時間: 2025-3-28 00:25 作者: confide 時間: 2025-3-28 03:04 作者: 鬼魂 時間: 2025-3-28 07:01 作者: bronchodilator 時間: 2025-3-28 13:19 作者: Archipelago 時間: 2025-3-28 15:55 作者: 陶器 時間: 2025-3-28 21:28
