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CinemachinesAn Essay on Media and Method$
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Garrett Stewart

Print publication date: 2020

Print ISBN-13: 9780226656564

Published to Chicago Scholarship Online: September 2020

DOI: 10.7208/chicago/9780226656878.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2022. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 30 June 2022

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Chapter:
(p.155) PostScript
Source:
Cinemachines
Author(s):

Garrett Stewart

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226656878.003.0008

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.

Keywords:   Optical affect, IMAX 3-D, Blade Runner 2049, Denis Villeneuve, 3-D film

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