Thinking in z-space: flatness and spatial narrativity

Ray Zone

doi:10.1117/12.916658

24 February 2012 Thinking in z-space: flatness and spatial narrativity

Ray Zone

Author Affiliations +

Proceedings Volume 8288, Stereoscopic Displays and Applications XXIII; 82881B (2012) https://doi.org/10.1117/12.916658
Event: IS&T/SPIE Electronic Imaging, 2012, Burlingame, California, United States

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.

Citation Download Citation

Ray Zone "Thinking in z-space: flatness and spatial narrativity", Proc. SPIE 8288, Stereoscopic Displays and Applications XXIII, 82881B (24 February 2012); https://doi.org/10.1117/12.916658

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