Commenced in January 2007
Paper Count: 30836
Auteur 3D Filmmaking: From Hitchcock’s Protrusion Technique to Godard’s Immersion Aesthetic
Authors: Delia Enyedi
Abstract:Throughout film history, the regular return of 3D cinema has been discussed in connection to crises caused by the advent of television or the competition of the Internet. In addition, the three waves of stereoscopic 3D (from 1952 up to 1983) and its current digital version have been blamed for adding a challenging technical distraction to the viewing experience. By discussing the films Dial M for Murder (1954) and Goodbye to Language (2014), the paper aims to analyze the response of recognized auteurs to the use of 3D techniques in filmmaking. For Alfred Hitchcock, the solution to attaining perceptual immersion paradoxically resided in restraining the signature effect of 3D, namely protrusion. In Jean-Luc Godard’s vision, 3D techniques allowed him to explore perceptual absorption by means of depth of field, for which he had long advocated as being central to cinema. Thus, both directors contribute to the foundation of an auteur aesthetic in 3D filmmaking.
Digital Object Identifier (DOI): doi.org/10.5281/zenodo.1340120Procedia APA BibTeX Chicago EndNote Harvard JSON MLA RIS XML ISO 690 PDF Downloads 670
 A. Bazin et al. “Six Characters in Search of Auteurs: A Discussion about the French Cinema,” in J. Hillier (ed.), Cahiers du Cinéma. The 1950s: Neo-Realism, Hollywood, New Wave. Cambridge, Massachusetts: Harvard University Press, 1985, pp. 31-46.
 T. Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era. Minneapolis, London: University of Minnesota Press, 2010, pp. 157-294.
 J. R. Green, Straight Lick: The Cinema of Oscar Micheaux. Bloomington and Indianapolis: Indiana University Press, 2000, p. 252.
 T. Corrigan, “Auteurs and the New Hollyood,” in J. Lewis (ed.), The New American Cinema. Durham and London: Duke University Press, 1998, pp. 38-63.
 C. Holmlund, “Introduction: From the margins to the mainstream,” in C. Holmlund, and J. Wyatt (eds.), Contemporary American Independent Film: From the Margins to the Mainstream. London and New York: Routledge, Taylor and Francis Group, 2005, pp. 1-7.
 T. Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era. Minneapolis, London: University of Minnesota Press, 2010, pp. 271-294.
 S. Higgins, “3D in Depth: Coraline, Hugo, and a Sustainable Aesthetic,” Film History: An International Journal, vol. 24, no. 2, pp. 196-209, 2012.
 T. Schatz, The Genius of the System: Hollywood Filmmaking in the Studio Era. Minneapolis, London: University of Minnesota Press, 2010, pp. 483-484.
 M. Ross, 3D Cinema: Optical Illusions and Tactile Experiences. Basingstoke, United Kingdom: Palgrave MacMillan, 2015, pp. 177-178.
 J. Belton, “CinemaScope and historical methodology,” in T. Schatz (ed.), Hollywood. Critical Concepts in Media and Cultural Studies, Volume III, Social dimensions: technology, regulation and the audience. London and New York: Routledge, Taylor and Francis Group, 2004, pp. 27-50.
 S. Higgins, “3D in Depth: Coraline, Hugo, and a Sustainable Aesthetic,” Film History: An International Journal, vol. 24, no. 2, p. 197.
 B. Furmanek, and G. Kintz, “An In-Depth Look at Dial M for Murder,” 3D Film Archive, http://www.3dfilmarchive.com/dial-m-blu-ray-review. Accessed on 23/01/2017.
 D. Bordwell, “Dial M for Murder: Hitchcock frets not at his narrow room”, 2012, http://www.davidbordwell.net/blog/2012/09/07/dial-m-for-murder-hitchcock-frets-not-at-his-narrow-room/. Accessed on 07/01/2017.
 P. William, “The Aesthetics of Emergence,” Film History, vol. 5, no. 3, pp. 321-355, 1993.
 P. Kael, and S. Schwartz, The Age of Movies. Selected Writings of Pauline Kael. United States: Library of America, 2016, pp.118-126.
 D. Morrey, Jean-Luc Godard. Manchester and New York: Manchester University Press, 2005, pp. 95-96.
 R. Brody, “Godard’s Revolutionary 3D Film,” The New Yorker, October 2014, http://www.newyorker.com/culture/richard-brody/jean-luc-godards-3-d-movie. Accessed on 25/01/2017.
 B. Honig, and L.J. Marso, Politics, Theory, and Film: Critical Encounters with Lars von Trier. New York: Oxford University Press, 2016, pp. xv-xvii.
 J. Lastra, “Reading, Writing, and Representing Sound,” in R. Altman (ed.), Sound Theory, Sound Practice. New York, London: Routledge, 1992, pp. 51-58.
 S. Higgins, “Order and Plenitude: Technicolor Aesthetics in the Classical Era,” in S. Neale (ed.), The Classical Hollywood Reader. London and New York: Routledge, Taylor and Francis Group, 2012, pp. 296-309.
 A. Gaudreault, Film and Attraction. From Kinematography to Cinema. Urbana, Chicago, and Springfield: University of Illinois Press, 2011, pp. 48-69.
 T. Elsaesser, “The Return of 3-D: On Some of the Logics and Genealogies of the Image in the Twenty-First Century,” Critical Inquiry, no. 39, pp. 217-246, Winter 2013.