본문 바로가기
KERD
논문KCI 등재

3D 입체영화 관객성의 제 요소들

The Spectatorship of 3D Stereoscopic Cinema

0

조회

0

다운로드

1

인용

0

참고문헌

키워드

초록

James Cameron’s Avatar hit a big international success. With this success, 3D stereoscopic cinema emerged as a new dominant media format. In principle, the stereoscopic cinema imitate the vision of the human being who has two eyes. The stereoscopic cinema shoot with 2 connected cameras at the same time and overlap the 2 different images. With the stereoscopic glasses, the human being can see the overlapped images as a single 3D stereoscopic image. The emergence of this 3D stereoscopic cinema changes the spectatorship of the cinema. Three factors influence the spectatorship. 1)The subject of the film experience can be influenced by the restriction which imposed by the principle of the stereoscopic cinema. Marshall McLuhan’s assertion “media is a message” means that the new media changes the condition of the human perception. 2)The principle of the stereoscopic cinema influence the spectatorship. the convergence point, safety zone become the parameter of the directing. The spectacle that the stereoscopic images make becomes the key point of the narrative. 3D stereoscopic cinema find the new convention that join the spectacle and the narrative motivated this spectacle. 3)The industrial elements influence the form of the stereoscopic cinema and the spectatorship. The dynamic force of the 3D stereoscopic cinema comes from the film industry which search the new market and the consumer-electronic industry which also search the new hardware market. Another key element of these industrial elements is the theater. These three factors which influence the spectatorship are not entirely new. Eventually,3D stereoscopic cinema is the part of the cinema and the experience of the spectators is not entirely different. But, the evolution of the technology of the 3D stereoscopic cinema will change the spectatorship eventually.

Abstract

James Cameron’s Avatar hit a big international success. With this success, 3D stereoscopic cinema emerged as a new dominant media format. In principle, the stereoscopic cinema imitate the vision of the human being who has two eyes. The stereoscopic cinema shoot with 2 connected cameras at the same time and overlap the 2 different images. With the stereoscopic glasses, the human being can see the overlapped images as a single 3D stereoscopic image. The emergence of this 3D stereoscopic cinema changes the spectatorship of the cinema. Three factors influence the spectatorship. 1)The subject of the film experience can be influenced by the restriction which imposed by the principle of the stereoscopic cinema. Marshall McLuhan’s assertion “media is a message” means that the new media changes the condition of the human perception. 2)The principle of the stereoscopic cinema influence the spectatorship. the convergence point, safety zone become the parameter of the directing. The spectacle that the stereoscopic images make becomes the key point of the narrative. 3D stereoscopic cinema find the new convention that join the spectacle and the narrative motivated this spectacle. 3)The industrial elements influence the form of the stereoscopic cinema and the spectatorship. The dynamic force of the 3D stereoscopic cinema comes from the film industry which search the new market and the consumer-electronic industry which also search the new hardware market. Another key element of these industrial elements is the theater. These three factors which influence the spectatorship are not entirely new. Eventually,3D stereoscopic cinema is the part of the cinema and the experience of the spectators is not entirely different. But, the evolution of the technology of the 3D stereoscopic cinema will change the spectatorship eventually.

참고문헌 (22)

  1. 레지스 드브레, "이미지의 삶과 죽음:서구적 시선의 역사" (1994), 시각과 언어
  2. 로버트 스탬, "구조주의와 포스트구조주의-그리고 그 너머:어휘로 풀어 읽는 영상기호학" (2003), 시각과 언어
  3. 미리암 한센, "벤야민,시네마 그리고 경험:테크놀로지라는 땅에 핀 푸른 꽃", pp.1994, 할리우드
  4. 반성완, "발터 벤야민의 비평개념과 예술개념, In 발터 벤야민의 문예이론" (1990), 민음사
  5. 존 벨튼, "미국영화, 미국문화" (2000), 한신문화사
  6. 존 오르, "영화와 모더니티" (1999), 민음사
  7. Ann Freidberg, "Window Shopping:Cinema and the Postmodern" (1998), University California Press
  8. Barbara Klinger, "Beyond the multiplex:Cinema, New Technologies, and the Home" (2006), University of California Press
  9. Scott Robert Olson, "Hollywood Planet:Global Media and the competitive advantage of narrative transarency" (1999), Lawrence Erlbaum
  10. Thomass Elsaesser, "Blockbuster:Everything Connects,but Not Everything Goes, In The End of Cinema as we know it:American Films in Ninties" (2002), New York University Press
  11. Paul Virilio, "Is the author dead?:An Interview with Paul Virilio, In The Virilio Reader" (1998), Blackwell Publisher
  12. 강병진, "3D 미래인가? 유행인가", 씨네21, (818) (2011)
  13. 권정아, "실감미디어에 대한 소비자 수용도 분석 및 산업 전망", 전자통신동향분석, ~ (2009)
  14. 3D 입체영상 촬영가이드, "김병철", 동의대학교, ~ (2011)
  15. 신은주, "동아시아 합작 블록버스터 영화의 출현과 한,중,일 삼국의 동아시아 상상" (2009), 연세대학교 커뮤니케이션 대학원
  16. 윤재선, "3D입체영화 관객의 만족에 영향을 미치는 요소에 관한 연구", 석사, 미디어학과, pp.2010
  17. 이동후, "한일 합작드라마의 ‘초국적 상상력’(transnational imaginations): 그 가능성과 한계", 한국방송학보, 18(4), pp.358~397 (2004), 한국방송학회
  18. 영화산업 신성장동력, 디지털입체영화, "이재우", 영화진흥위원회, ~ (2010)
  19. 정지연, "디지털 시대의 영화 존재론에 관한 연구 : 매체 융합환경에서 영화의 수용자 경험 변화를 중심으로", 커뮤니케이션학 연구, 17(1), pp.75~106 (2009), 한국커뮤니케이션학회
  20. 정지연, "디지털 시대의 영화적 특정성:영화 테크놀로지,형식,영화경험", 박사, 신문방송학과, pp.2010
  21. 조광제, "몸의 매개성과 매체의 몸성-맥루언의 매체론에 대한 존재론적 고찰" (2003), 시대와 철학
  22. Andrew Darley, "Visual Digital Culture:Surface Play and Spectacle in New Media Genre, In Timespace in Spectacular Cinema:crossing the great devide of spectacle versus narrative", Screen 43, ~ (2002)

관련 논문AI추천

이 간행물의 다른 논문 (11건)