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Somatic Montage for Immersive Cinema Cover

Somatic Montage for Immersive Cinema

Cultural Science
Volume 13 (2021): Issue 1 (December 2021)
By:
Open Access
|Dec 2021

Figures & Tables

Figure 1

Three views of the finale triptych scene of Napoléon by Abel Gance, 1927, demonstrating the extra-wide singular shot (top), the composite of three heterogeneous shots on three screens (middle), and the graphical use of colour (bottom).OmniMAX and IMAX used what is known as a ‘15-perf’, or ‘15/70’, a fifteen-sprocket hole, horizontal piece of 70mm film as opposed to the vertical ‘5-perf’, 65mm area of standard large format film, providing three times the image area per frame.
Three views of the finale triptych scene of Napoléon by Abel Gance, 1927, demonstrating the extra-wide singular shot (top), the composite of three heterogeneous shots on three screens (middle), and the graphical use of colour (bottom).OmniMAX and IMAX used what is known as a ‘15-perf’, or ‘15/70’, a fifteen-sprocket hole, horizontal piece of 70mm film as opposed to the vertical ‘5-perf’, 65mm area of standard large format film, providing three times the image area per frame.

Figure 2

Moonwalk (2010) by Clea T. Waite: fulldome projection at the Adler Planetarium. Photo Mark Webb.
Moonwalk (2010) by Clea T. Waite: fulldome projection at the Adler Planetarium. Photo Mark Webb.

Figure 3

Varvara Stepanova, Bud Gotov (Be Ready), 1934. Photographs by Aleksandr Rodchenko.Image retrieved from (Stepanova 1934)
Varvara Stepanova, Bud Gotov (Be Ready), 1934. Photographs by Aleksandr Rodchenko.Image retrieved from (Stepanova 1934)

Figure 4

Stan VanDerBeek, Movie-Drome (1963/2014).VanDerBeek’s Movie-Drome was recently updated for the Civico Planetario ‘Ulrico Hoepli’ Milan in 2014. Image retrieved from VanDerBeek, 1963. Courtesy of Fondazione Nicola Trussardi, Milan and miart 2014, Milan. Photo credit: Marco De Scalzi.
Stan VanDerBeek, Movie-Drome (1963/2014).VanDerBeek’s Movie-Drome was recently updated for the Civico Planetario ‘Ulrico Hoepli’ Milan in 2014. Image retrieved from VanDerBeek, 1963. Courtesy of Fondazione Nicola Trussardi, Milan and miart 2014, Milan. Photo credit: Marco De Scalzi.

Figure 5

Two views of Shirin Neshat’s video installation Turbulent (1998).Images retrieved from: https://publicdelivery.org/shirin-neshat-turbulent/ Courtesy of Shirin Neshat & Gladstone Gallery.
Two views of Shirin Neshat’s video installation Turbulent (1998).Images retrieved from: https://publicdelivery.org/shirin-neshat-turbulent/ Courtesy of Shirin Neshat & Gladstone Gallery.

Figure 6

Still from Moonwalk, a fulldome digital film (© 2010 Clea T. Waite).
Still from Moonwalk, a fulldome digital film (© 2010 Clea T. Waite).
DOI: https://doi.org/10.2478/csj-2021-0009 | Journal eISSN: 1836-0416
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Language: English
Page range: 113 - 128
Published on: Dec 22, 2021
Published by: Tallinn
In partnership with: Paradigm Publishing Services
Publication frequency: 1 times per year
Keywords:
Immersive cinema,
Somatic montage,
20th-century avant-garde,
Modernism,
Relativity theory,
N-dimensional geometry,
Montage,
Sergei Eisenstein
Related subjects:
Cultural studies,
Genres and media in cultural studies,
Digital media and communication,
General cultural studies,
Library and information science, book studies,
Information science

© 2021 Clea von Chamier-Waite, published by Tallinn
This work is licensed under the Creative Commons Attribution 4.0 License.

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