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Cultural Science Journal
Volume 13 (2021): Numero 1 (December 2021)
Accesso libero
Somatic Montage for Immersive Cinema
Clea von Chamier-Waite
Clea von Chamier-Waite
| 22 dic 2021
Cultural Science Journal
Volume 13 (2021): Numero 1 (December 2021)
INFORMAZIONI SU QUESTO ARTICOLO
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Article Category:
Research articles
Pubblicato online:
22 dic 2021
Pagine:
113 - 128
DOI:
https://doi.org/10.2478/csj-2021-0009
Parole chiave
Immersive cinema
,
Somatic montage
,
20th-century avant-garde
,
Modernism
,
Relativity theory
,
N-dimensional geometry
,
Montage
,
Sergei Eisenstein
© 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.
Figure 2
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)
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.
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.
Figure 6
Still from Moonwalk, a fulldome digital film (© 2010 Clea T. Waite).