The New Yorker and Film

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The New Yorker and Film Brief History The New Yorker started reviewing films as far back as July 4th, 1925. The first film reviewed was Kivalina of the Ice Lands (1925) by “T.S.” This led to a common practice of reviewing films along with Theater, Art, Books, and Music. Today, there’s The Current Cinema primarily written by Anthony Lane which reviews two films a week, with an emphasis on arthouse and foreign films. Adaptations Brokeback Mountain (2005) Based on the short story of the same name by Annie Proulx Published in The New Yorker October 13th 1997 Adapted into film by Ang Lee released December 9th 2005 Made 178 million at the Box Office Won 3 Academy Awards (Director, Screenplay, Score) In 2018 chosen for the National Film Registry Anthony Lane Anthony Lane writes The Current Cinema Lane was born in England and studied at Cambridge Tina Brown asked him to join TNY in 1993 A collection of reviews was released in 2002 under the title Nobody’s Perfect. The Current Cinema Lane is known for his sharp wit and encompassing style, often reviewing more obscure titles instead of more mainstream offerings. He says his personal rules involve never reading publicity material, seeing a film with ordinary humans, seeing everything regardless of budget and hype and try to see everything the day it comes out. The Current Cinema The Current Cinema is Lane’s film reviews that reviews two films in a week, usually with some sort of connection or theme between the two. The Current Cinema The New Yorker and Anthony Lane put an emphasis on more arthouse and foreign films, mostly disregarding mainstream offerings, or doing them out of obligation. It shows the type of audience the New Yorker has and how that audience hasn’t changed since Lane’s tenure began in 1993. Questions? .

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3. Digital 3D, Parallax Effects, and the Construction of Film Space In
3. Digital 3D, Parallax Effects, and the Construction of Film Space in Tangled 3D and Cave of Forgotten Dreams 3D Kristen Whissel Abstract This essay analyzes how parallax effects in Cave of Forgotten Dreams 3D (2010) and Tangled 3D (2010) effectively blur the boundaries between the past and present, sight and touch, and diegetic space and the space of reception in order to give form to themes concerning the dimensionality of the moving image. I show how these films function as ideal case studies for demonstrating digital 3D’s transformation of film space by organizing seeing, knowing, and feeling along the screen’s z-axis. Keywords: Digital 3D, parallax effects, affect, haptics, uncanny Since the release of Chicken Little 3D (Mark Dindal) in 2005, digital 3D cinema has had the odd historical status of being a ‘new’ medium that has returned to us from the past as a harbinger of cinema’s future. To be sure, digital 3D has transformed our understanding of the (pre-)history of the cinema itself, which now must include Charles Wheatstone’s invention of the stereoscope (1838) and Charles Babbage’s invention of the Analytical Engine (1837) in the first half of the 19th century. However long this history, the return of stereoscopic 3D as a digital medium demands a rethinking of film history to include the changing dimensionality of the moving image and, with it, transformations in the articulation of film space. Much as digital tools provide new means for organizing the image along and around the x- (horizontal) and y- (vertical) axes, they have also provided, as Stephen Prince has argued, new means for ‘choreographing’ story, character, and action along the z-axis—a continuum that stretches from the extreme Sæther, S.Ø.
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