In this Book

3-D Revolution
summary

In 2009, Avatar, a 3-D movie directed by James Cameron, became the most successful motion picture of all time, a technological breakthrough that has grossed more than $2.5 billion worldwide. Its seamless computer-generated imagery and live action stereo photography effectively defined the importance of 3-D to the future of cinema, as well as all other currently evolving digital displays. Though stereoscopic cinema began in the early nineteenth century and exploded in the 1950s in Hollywood, its present status as an enduring genre was confirmed by Avatar's success.

3-D Revolution: The History of Modern Stereoscopic Cinema traces the rise of modern 3-D technology from Arch Oboler's Bwana Devil (1952), which launched the 50s 3-D boom in Hollywood, to the rapidly-modernizing 3-D industry today. Ray Zone takes a comprehensive approach that not only examines the technology of the films, but also investigates the business, culture, and art of their production. Influencing new generations of filmmakers for decades, the evolution of 3-D cinema technology continues to fill our theaters with summer blockbusters and holiday megahits.

Table of Contents

  1. Front Cover
  2. pp. c-i
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  1. Frontispiece
  2. pp. ii-ii
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  1. Title Page
  2. pp. iii-iii
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  1. Copyright Page
  2. pp. iv-iv
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  1. Contents
  2. pp. v-viii
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  1. Prologue: The Epochs of 3-D
  2. pp. 1-4
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  1. Part I: The Era of Convergence, 1952–1985
  2. pp. 5-6
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  1. Chapter 1: Bwana Devil
  2. pp. 7-16
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  1. Chapter 2: Dual-Band Cameras
  2. pp. 17-30
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  1. Chapter 3: Converging in Time
  2. pp. 31-44
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  1. Chapter 4: Deep Black and White
  2. pp. 45-50
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  1. Chapter 5: 3-D Filmmakers and the Critics
  2. pp. 51-62
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  1. Chapter 6: Wider, Not Deeper
  2. pp. 63-78
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  1. Chapter 7: Single-Strip 3-D Systems
  2. pp. 79-92
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  1. Chapter 8: The Porno Boys
  2. pp. 93-110
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  1. Chapter 9: 1980s 3-D Films
  2. pp. 111-124
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  1. Chapter 10: 3-D at Home
  2. pp. 125-140
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  1. Part II: The Immersive Age, 1986–2005
  2. pp. 141-142
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  1. Chapter 11: 4-D and the Ride Film
  2. pp. 143-156
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  1. Chapter 12: Creating 3-D for Theme Parks
  2. pp. 157-170
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  1. Chapter 13: The World of IMAX 3-D
  2. pp. 171-182
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  1. Chapter 14: A Large-Format 3-D Jouney
  2. pp. 183-190
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  1. Chapter 15: Stereoscopic Outer Space
  2. pp. 191-196
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  1. Chapter 16: Big-Screen 3-D Dinosaurs
  2. pp. 197-208
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  1. Chapter 17: Large-Format Stereo Conversion
  2. pp. 209-216
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  1. Chapter 18: Speeding into 3-D
  2. pp. 217-222
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  1. Chapter 19: Riding on Digits
  2. pp. 223-234
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  1. Chapter 20: The Polar Express in IMAX 3-D
  2. pp. 235-244
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  1. Part III: Digital 3-D Cinema, 2005-2009
  2. pp. 245-246
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  1. Chapter 21: Two Anaglyph Movies
  2. pp. 247-256
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  1. Chapter 22: Threshold of the Future
  2. pp. 257-264
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  1. Chapter 23: Digital 3-D Cinema Begins
  2. pp. 265-274
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  1. Chapter 24: Meet the Robinsons
  2. pp. 275-282
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  1. Chapter 25: Rebuilding the Z-axis
  2. pp. 283-296
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  1. Chapter 26: Digital Live Action 3-D
  2. pp. 297-306
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  1. Chapter 27: Aliens and Superpowers
  2. pp. 307-316
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  1. Chapter 28: Immersed in Coraline
  2. pp. 317-324
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  1. Chapter 29: Two 3-D FIlms by Robert Zemeckis
  2. pp. 325-332
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  1. Chapter 30: Digital 3-D Horrors
  2. pp. 333-348
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  1. Chapter 31: Perceptual Paradoxes
  2. pp. 349-360
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  1. Chapter 32: Cute and Fuzzy Dinosaurs
  2. pp. 361-368
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  1. Chapter 33: An Interview with Rob Engle
  2. pp. 369-386
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  1. Chapter 34: Brave New 3-D World
  2. pp. 387-395
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  1. Epilogue: Now Is the Time
  2. pp. 396-402
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  1. Acknowledgments
  2. pp. 403-404
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  1. Notes
  2. pp. 405-420
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  1. Index
  2. pp. 421-448
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