Open Access

Somatic Montage for Immersive Cinema

Clea von Chamier-Waite

Clea von Chamier-Waite

Clea T. Waite Studio, ColoradoUSA / Berlin, Germany
Search for this author on
Sciendo|Google Scholar
Chamier-Waite, Clea von
  
Dec 22, 2021
Somatic Montage for Immersive Cinema's Cover Image
About this article
Previous Article
Next Article
Cite
Download Cover
Article Category: Research articles
Published Online: Dec 22, 2021
Page range: 113 - 128
DOI: https://doi.org/10.2478/csj-2021-0009
Keywords
© 2021 Clea von Chamier-Waite, published by Sciendo
This work is licensed under the Creative Commons Attribution 4.0 International License.

Figure 1

Three views of the finale triptych scene of Napoléon by Abel Gance, 1927, demonstrating the extra-wide singular shot (top), the composite of three heterogeneous shots on three screens (middle), and the graphical use of colour (bottom).OmniMAX and IMAX used what is known as a ‘15-perf’, or ‘15/70’, a fifteen-sprocket hole, horizontal piece of 70mm film as opposed to the vertical ‘5-perf’, 65mm area of standard large format film, providing three times the image area per frame.
Three views of the finale triptych scene of Napoléon by Abel Gance, 1927, demonstrating the extra-wide singular shot (top), the composite of three heterogeneous shots on three screens (middle), and the graphical use of colour (bottom).OmniMAX and IMAX used what is known as a ‘15-perf’, or ‘15/70’, a fifteen-sprocket hole, horizontal piece of 70mm film as opposed to the vertical ‘5-perf’, 65mm area of standard large format film, providing three times the image area per frame.

Figure 2

Moonwalk (2010) by Clea T. Waite: fulldome projection at the Adler Planetarium. Photo Mark Webb.
Moonwalk (2010) by Clea T. Waite: fulldome projection at the Adler Planetarium. Photo Mark Webb.

Figure 3

Varvara Stepanova, Bud Gotov (Be Ready), 1934. Photographs by Aleksandr Rodchenko.Image retrieved from (Stepanova 1934)
Varvara Stepanova, Bud Gotov (Be Ready), 1934. Photographs by Aleksandr Rodchenko.Image retrieved from (Stepanova 1934)

Figure 4

Stan VanDerBeek, Movie-Drome (1963/2014).VanDerBeek’s Movie-Drome was recently updated for the Civico Planetario ‘Ulrico Hoepli’ Milan in 2014. Image retrieved from VanDerBeek, 1963. Courtesy of Fondazione Nicola Trussardi, Milan and miart 2014, Milan. Photo credit: Marco De Scalzi.
Stan VanDerBeek, Movie-Drome (1963/2014).VanDerBeek’s Movie-Drome was recently updated for the Civico Planetario ‘Ulrico Hoepli’ Milan in 2014. Image retrieved from VanDerBeek, 1963. Courtesy of Fondazione Nicola Trussardi, Milan and miart 2014, Milan. Photo credit: Marco De Scalzi.

Figure 5

Two views of Shirin Neshat’s video installation Turbulent (1998).Images retrieved from: https://publicdelivery.org/shirin-neshat-turbulent/ Courtesy of Shirin Neshat & Gladstone Gallery.
Two views of Shirin Neshat’s video installation Turbulent (1998).Images retrieved from: https://publicdelivery.org/shirin-neshat-turbulent/ Courtesy of Shirin Neshat & Gladstone Gallery.

Figure 6

Still from Moonwalk, a fulldome digital film (© 2010 Clea T. Waite).
Still from Moonwalk, a fulldome digital film (© 2010 Clea T. Waite).
Language:
English
Publication timeframe:
1 times per year
Journal Subjects:
Cultural Studies, Genres and Media in Cultural Studies, Digital Media and Communication, General Cultural Studies, Library and Information Science, Book Studies, Information Science
Journal RSS Feed