A return to opening reflections on our bodily response to film, rather than to the “body” or “flesh” of the screen image, accompanies a further consideration of screen “affect” in connection with divergent instances of its technological bravura. Traced back to his own teenage experience with rudimentary 3-D, a personal rehearsal of the author’s nervous sensitivity to trick effects on screen—but one in which he finds himself not alone among film buffs—lends context to a final extensive look at digital knowingness in Denis Villeneuve’s 2018 sequel Blade Runner 2049. This is a film in which, among other CGI wrinkles, a perceptible technical difference in cinemachination for one pivotal scene—a difference between its 70mm IMAX and 35mm 3-D release prints—bears in multiple ways on the question of digital holography in regard to humanoid incarnation.
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