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Published online by Cambridge University Press: 28 September 2016
Holly Rogers, Goldsmiths, University of London; h.rogers@gold.ac.uk.
1 Mitchell quoted by Aa in ‘Michel van der Aa on Sunken Garden’, at www.boosey.com/podcast/Michel-van-der-Aa-on-Sunken-Garden/100177 (accessed 1 July 2015).
2 Alexandra Coghlan continues: ‘Yes there’s exhilaration and marvel to be had in the precise, minute integration of holographic and real action, but it never quite makes the transition from clever visual trick to embedded artistic gesture.’ Coghlan, ‘Sunken Garden, English National Opera, Barbican Theatre: 21st-Century Opera So Busy Being Digital That It Forgets To Be an Opera’, The Artsdesk.com (13 April 2013), www.theartsdesk.com/opera/sunken-garden-english-national-opera-barbican-theatre (accessed 1 July 2015).
3 Aa quoted in ‘Michel van der Aa: Interview About Sunken Garden’, www.boosey.com/cr/news/Michel-van-der-Aa-interview-about-Sunken-Garden/100142 (accessed 1 July 2015).
4 Aa quoted in ‘Michel van der Aa on Sunken Garden’.
5 Scorsese continues: ‘When you see dancers move on stage, the depth between their bodies allows you to see a fluid sense of the visual field they are moving in. The only thing that approximates that in 2D cinema is camera movement. Add to that the illusion of depth and you have something that is not simply a flat image but something that opens up to infinite possibility.’ Quoted in Pennington, Adrian and Giardina, Carolyn, Exploring 3D: The New Grammar of Steroscopic Filmmaking (Oxford, 2012), 3 Google Scholar.
6 Mitchell quoted in ‘Michel van der Aa on Sunken Garden’.
7 Buzz Hays, quoted in Pennington and Giardina, Exploring 3D, 31.
8 Ross, Miriam, 3D Cinema: Optical Illusions and Tactile Experiences (Basingstoke, 2015), 9 CrossRefGoogle Scholar.
9 Aa quoted in ‘Michel van der Aa: Interview About Sunken Garden’.