A Technician's Dream? The Critical Reception of 3-D Films in Britain

Recent debates about the role of 3-D within cinema (and other media) have contained the traces of a largely anti-stereoscopic agenda that can be traced back to critical responses to 3-D in the 1950s. This article considers how British film reviews from the 1950s and 1980s established potent terms of discussion around the 3-D technology, its potential aesthetic development, and the role of stereoscopy within cinema. Exploring the parameters that the original reviewers set in place concerning the 3-D aesthetic, notably claims around realism, novelty, and gimmickry, the article argues that the language and terms of 1950s British film reviewers have worked to set an agenda that resonates through both the 1980s 3-D revival and modern day digital 3-D

'The Coolest Way to Watch Movie Trailers in the World': Trailers in the Digital Age

At a time of uncertainty over film and television texts being transferred online and on to portable media players, this article examines one of the few visual texts that exist comfortably on multiple screen technologies: the trailer. Adopted as an early cross-media text, the trailer now sits across cinema, television, home video, the internet, games consoles, mobile phones and iPods. Exploring the aesthetic and structural changes the trailer has undergone in its journey from the cinema to the iPod screen, the article focuses on the new mobility of these trailers, the shrinking screen size, and how audience participation with these texts has influenced both trailer production and distribution techniques. Exploring these texts, and their technological display, reveals how modern distribution techniques have created a shifting and interactive relationship between film studio and audience

"A step into the abyss" Transmedia in the UK Games and Television Industries

This article uses a media industries studies perspective to investigate the current state of transmedia production in the UK. Analysing the discursive statements of a range of industry participants from both UK television and games industries, the article reveals a series of contradictions and misunderstandings that may be limiting the effectiveness of multi-platform projects. By comparing overlapping discursive patterns around attitudes to risk, measures of success, authorship between the two industries, and repeated concerns over the balance of creative and commercial imperatives, the article argues that existing hierarchies of power between media industries threaten to derail future convergence

Researching historical promotional materials: Towards a new methodology

Promotional materials – posters, trailers, press / campaign books, lobby cards – have been part of the commercial film industry for almost as long as there have been films to advertise. The history of these materials, their creators, and the industries that produced them remains largely unexplored territory in film and media history, even while academic interest in such materials has increased over the last decade. This article argues that much of the existing scholarly work on promotional materials – including the most recent ‘paratextual turn’ – lacks a strong methodology for approaching, selecting and analysing such materials. Through an exploration of academic theories and approaches currently used within historical promotional material scholarship, the article considers the limitations of the current dominance of textual studies, and proposes new methodological steps to help refine and enhance the future of studies of promotional materials

Pop-up footballers, pop concerts and popular films: The past, present and future of 3D TV

Using a case study of the British pay television (TV) service Sky 3D, this article considers the current barriers to mainstream adoption of stereoscopic three-dimensional TV (3D TV). Exploring the history of 3D TV technology and the public discourse around 3D on TV, the article argues that the digital 3D TV aesthetic remains rooted in two-dimensional production models and restrictive genres/formats that stifle 3D storytelling and experimentation. Given these current limitations in broadcast content and the continuing influence of home electronics manufacturers, the article argues that 3D TV will struggle to have more than a fluctuating appeal in the consumer marketplace. </jats:p