N.N.: http://hollywoodinhidef.com/2011/09/cameron-tv-will-drive-3d-success/
N.N.: http://hydrochart.dk/ivs_3d.html
N.N.: http://www.pcmag.com/article2/0,2817,2365010,00.asp
N.N.: http://pulfrich.siuc.edu/
N.N.: http://www.qps.nl/display/fledermaus/main
N.N.: http://www.qps.nl/display/fledermaus/main;jsessionid=670E5EE11BF1B538EF55267912FF8B11
N.N.: http://www.seeingwithsound.com/
N.N.: http://vangoghimaging.com/
N.N.: http://www.vanityfair.com/online/oscars/2009/03/jeffrey-katzenberg-on-3d-depth-becomes-him
N.N.: http://www.virtualpeace.org
Noë, Alva: Action in Perception, Cambridge, MA: The MIT Press 2004.
Oettermann, Stephan: Das Panorama, Die Geschichte eines Massenmediums, Frankfurt: Syndikat 1980.
Panofsky, Erwin: »Die Perspektive als symbolische Form«, in: Vorträge der Bibliothek Warburg, 1924-25, Leipzig, Berlin 1927, S. 258-330. Reprint in: Ders.: Aufsätze zu Grundfragen der Kunstwissenschaft, Berlin: Volker Spieß 1985, S. 99167.
Parkes, Christopher: »Science fiction the old-fashioned way«, in: Financial Times vom 18./19. Mai 2002.
Pierson, Michele/ James, David E./Arthur, Paul (Hg.), Optic Antics: The Cinema Of Ken Jacobs, New York: Oxford University Press 2011.
Randall, Kevin: »Rise of Neurocinema: How Hollywood Studios Harness Your Brainwaves to Win Oscars«, http://www.fastcompany.com/1731055/oscars-avatar-neurocinema-neuromarketing
Rodek, Hans-Georg: »›Oben‹ beweist – 3D ist keine Kino-Sensation«, in: Die Welt vom 13. Mai 2009, http://www.welt.de/kultur/article3732236/Oben-beweist-3D-ist-keine-Kino-Sensation.html
Roland Shearer, Rhonda et al., »Duchamp's Revolutionary Alternative in the context of competing optical experiments«, in: Tout-fait 1:3 (2000). Online: http://www.toutfait.com/issues/issue_3/Multimedia/Shearer/
Salazard, Bruno et al.: »Auguste and Louis Lumière, inventors at the service of the suffering«, in: European Journal of Plastic Surgery, 28 (2006), S. 441447.
Seel, Martin: Ästhetik des Erscheinens, Frankfurt am Main: Suhrkamp 2003.
Selick, Henry: Audiokommentar, Coraline, 2-disk DVD Collector's Edition, Universal Studios 2009.
Sergi, Gianluca: The Dolby Era: Film Sound in Contemporary Hollywood, Manchester: Manchester University Press 2004.
Thompson, Kristin: »Has 3D Already Failed?«, http://www.davidbordwell.net/blog/2011/01/20/has-3d-already-failed-the-sequel-part-one-realdlighted/
Dies.: »HUGO: Scorsese's birthday present to Georges Méliès«, http://www.davidbordwell.net/blog/2011/12/07/hugo-scorseses-birthday-present-to-georges-melies/
Turvey, Malcolm: »Dada between Heaven and Hell: Abstraction and Universal Language in the Rhythm Films of Hans Richter«, October 105 (2003), S. 13-36.
Virilio, Paul: War and Cinema: The Logistics of Perception, London: Verso 1997.
Walton, Kendall: Mimesis as Make-believe, Cambridge, Mass.: Harvard University Press 1990.
Wedel, Michael: »Melodrama and Narrative Space: Franz Hofer«, in: Thomas Elsaesser (Hg.), A Second Life: German Cinema's First Decades, Amsterdam: Amsterdam University Press 1996, S. 123-131.
Zone, Ray: Stereoscopic Cinema and the Origins of 3-D Film, 1838-1952, Lexington: University Press of Kentucky 2007.
Filme
Alice in Wonderland (USA 2009, R: Tim Burton)
Anaglyph Tom (USA 2008, R: Ken Jacobs)
Anémic Cinéma (F 1926, R: Marcel Duchamp)
Apocalypse Now (USA 1979, R: Francis Ford Coppola)
Avatar (USA 2009, R: James Cameron)
Beowulf (USA 2009, R: Robert Zemeckis)
Berth Marks (USA 1929, R: Lewis R. Foster)
Bin Jip (KOR 2004, R: Kim ki-Duk)
Bwana Devil (USA 1952, R: Arch Oboler)
Cave of Forgotten Dreams (F et al. 2011, R: Werner Herzog)
Coraline (USA 2009, R: Henry Selick)
Deep Play (D 2008, R: Harun Farocki)
Dial M for Murder (USA 1954, R: Alfred Hitchcock)
Disorient Express (USA 1996, R: Ken Jacobs)
Easy Rider (USA 1969, R: Dennis Hopper)
Eye/Machine (D 2001-2003, R: Harun Farocki)
Grandma's Reading Glasses (GB 1900, R: G.A. Smith)
House of Wax (USA 1953, R: André de Toth)
Hugo (USA 2011, R: Martin Scorsese)
I Thought I was seeing Convicts (D 2000, R: Harun Farocki)
Ice Age: Dawn of the Dinosaurs (USA 2009, R: Carlos Saldanha)
Images of the World and Inscription of War (D 1989, R: Harun Farocki)
Jaws (USA 1975, R: Steven Spielberg)
L'Arrivée d'un Train en Gare de La Ciotat (F 1896, R: Auguste & Louis Lumière)
La Bête humaine (F 1938, R: Jean Renoirs)
Let There Be Whistleblowers (USA 2005, R: Ken Jacobs)
Musketeers of Pig Alley (USA 1912, R: D. W. Griffith)
Nashville (USA 1975, R: Robert Altman)
Ontic Antics Starring Laurel And Hardy; Bye Molly (USA 2005, R: Ken Jacobs)
Outer and Inner Space (USA 1966, R: Andy Warhol)
Pina (D 2011, R: Wim Wenders)
Shrek Forever After (USA 2010, R: Mike Mitchell)
Star Wars (USA 1977, R: George Lucas)
The Adventures of Tintin (USA 2011, R: Steven Spielberg)
The Artist (F 2011, R: Michel Hazanavicius)
The Big Swallow (GB 1901, R: James Williamson)
The Creature from the Black Lagoon (USA 1954, R: Jack Arnold)
The French Line (USA 1954, R: Lloyd Bacon)
The Great Train Robbery (USA 1903, R: Edwin S. Porter)
The Green Hornet (USA 2011, R: Michel Gondry)
The Ingenious Soubrette (USA 1903, R: Ferdinand Zecca)
The Shock Labyrinth (J 2009, R: Takeshi Shimizu)
The Stewardesses (USA 1969, R: Allan Silliphant)
Tom Tom the Piper's Son (USA 1969, R: Ken Jacobs)
Toy Story 3 (USA 2010, R: Lee Unkrich)
Up (USA 2009, R: Peter Docter)
Weihnachtsglocken (D 1914, R: Franz Hofer)
1Ebert, Roger: »Why I Hate 3-D (And You Should Too)«, in Newsweek vom 10. Mai 2010, http://www.thedailybeast.com/newsweek/2010/04/30/why-i-hate-3-d-and-you-should-too.html.
2Ebert, Roger: »Why 3D doesn't work and never will. Case closed.« in Chicago Sun-Times vom 23. Januar 2011, http://blogs.suntimes.com/ebert/2011/01/post_4.html
3»If the more modest goal is the one many Hollywood studios are aiming at, then no, 3D hasn't failed. But as for 3D being the one technology that will ›save‹ the movies from competition from games, iTunes, and TV, I remain skeptical.« Thompson, Kristin: »Has 3D Already Failed?«, http://www.davidbordwell.net/blog/2011/01/20/has-3d-already-failed-the-sequel-part-one-realdlighted/
4Engber, Daniel: »Is 3-D dead in the water? A box office analysis.«, http://www.slate.com/id/2264927/pagenum/all/-p2
5BBC Beitrag vom 23. Dezember 2009, http://www.bbc.co.uk/blogs/markkermode/2009/12/come_in_number_3d_your_time_is.html
6Balio, Tino: »›A Major Presence in All the World Markets‹: The Globalization of Hollywood in the 1990s«, in: Steve Neale/Murray Smith (Hg.), Contemporary Hollywood Cinema, London: Routledge 1998, S. 58-73.
7Siehe das Anti-Produktpiraterie-Handelsabkommen (oder Anti-Counterfeiting Trade Agreement, kurz ACTA), gegen dessen Umsetzung weltweit protestiert wurde. Melvin, Don: »Activists Present Anti-ACTA petition to EU«, in: Associated Press vom 28. Februar 2011. http://www.google.com/hostednews/ap/article/ALeqM5goN98YMyvwPqQiW31gBs8U-xnvIg?docId=7afd9eef4f6b44acbb43b1029820bc87
8»Exhibitors have a low-cost, proven, low-tech approach … and see no urgent need to go digital. […] On the face of it, studios have most to gain: making and distributing fragile prints cost them about $1bn a year in the US alone. On the other hand, updating US cinemas could cost $5 bn. Logic suggests … that studios should come up with the funds. Yet part of the problem is the eternal argument between studios and theatre owners […] over the fair distribution of screen spoils.« Parkes, Christopher: »Science fiction the old-fashioned way«, in: Financial Times vom 18./19. Mai 2002.
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