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Proceedings Paper

Thinking in z-space: flatness and spatial narrativity
Author(s): Ray Zone
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Paper Abstract

Now that digital technology has accessed the Z-space in cinema, narrative artistry is at a loss. Motion picture professionals no longer can readily resort to familiar tools. A new language and new linguistics for Z-axis storytelling are necessary. After first examining the roots of monocular thinking in painting, prior modes of visual narrative in twodimensional cinema obviating true binocular stereopsis can be explored, particularly montage, camera motion and depth of field, with historic examples. Special attention is paid to the manner in which monocular cues for depth have been exploited to infer depth on a planar screen. Both the artistic potential and visual limitations of actual stereoscopic depth as a filmmaking language are interrogated. After an examination of the historic basis of monocular thinking in visual culture, a context for artistic exploration of the use of the z-axis as a heightened means of creating dramatic and emotional impact upon the viewer is illustrated.

Paper Details

Date Published: 25 February 2012
PDF: 6 pages
Proc. SPIE 8288, Stereoscopic Displays and Applications XXIII, 82881B (25 February 2012); doi: 10.1117/12.916658
Show Author Affiliations
Ray Zone, The 3D Zone (United States)

Published in SPIE Proceedings Vol. 8288:
Stereoscopic Displays and Applications XXIII
Andrew J. Woods; Nicolas S. Holliman; Gregg E. Favalora, Editor(s)

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