Abstract

Get full access to this article
View all access options for this article.
References
1.
Barker
JM
(2009 ) The Tactile Eye: Touch and the Cinematic Experience . Berkeley, CA : University of California Press .
2.
Belton
J
(2012 ) Digital 3D cinema: digital cinema’s missing novelty phase . Film History: An International Journal 24 (2 ): 187 –195 .
3.
Brown
W
(2009 )
Beowulf : The digital monster movie . Animation: An Interdisciplinary Journal 4 (2 ): 153 –168 .
4.
Elsaesser
TP
(2004 ) The new film history as media archaeology . Cinémas: Journal of Film Studies 14 (2-3 ): 75 –117 .
5.
Elsaesser
TP
(2013 ) The “return” of 3-D: on some of the logics and genealogies of the image in the twenty-first century . Critical Inquiry 39 : 217 –246 .
6.
Grau
O
(2003 ) Virtual Art: From Illusion to Immersion . Cambridge, MA : MIT Press .
7.
Gurevitch
L.
The stereoscopic attraction: 3D imaging and the spectacular paradigm 1850 –2013 .
8.
Hansen
MBN
(2004 ) New Philosophy for New Media . Cambridge, MA : MIT Press .
9.
Lippit
AM
(1999 ) Three phantasies of cinema: reproduction, mimesis, annihilation . Paragraph 22 (3 ): 213 –227 .
10.
Parrika
J
(2012 ) What is Media Archaeology . London, UK : Polity .
11.
Prince
S
(2012 ) Digital Visual Effects in Cinema . New Brunswick, NJ : Rutgers University Press .
12.
Purse
L
(2013 ) Digital Imaging in Popular Cinema . Edinburgh, UK : Edinburgh University Press .
13.
Rodowick
DN
(2007 ) The Virtual Life of Film . Cambridge, MA : Harvard University Press .
14.
Sobchack
V
(2004 ) Carnal Thoughts: Embodiment and Moving Image Culture . Berkeley, CA : University of California Press .
