KJCKorea
Journal Central

This study looks at the effective mise-en-scene in the stereoscopic animation extended Z-axis space, and also examines the aesthetic impacts that the appearance of the stereoscopic technic has on mies-en-scene in the animations. In this study the mise-en-scene of the extended Z-axis space was examined of some scenes in the works, <A Christmas Carol> (2009) and <How to Train Your Dragon> (2010). In the two works the continuity of the natural sense of depth was also maintained using the camera's tracking. Especially the strong presence was induced by the camera angle, with the use of wide angle lenses, and by an active camera movement applying Z-axis. The extension of the Z-axis space in the stereoscopic animation is to enable mise-en-scene a maximized depth and a new stereoscopic effect by using a variety of techniques. The realistic depth and the stereoscopic effect in the mise-en-scene lead the spectator naturally to empathy for the narrative, and the virtual stereoscopic space extended right in front of the spectator's eyes makes the spectator not just ‘watching’ the image, but ‘being’ in the image. The object in the expanded space maximizes the visual tactility by dismantling the distance to the spectator and meeting face-to-face, the spectator immerses himself in the frame by responding sensuously automatically to the object coming in front of his eyes. Thus, the stereoscopic animation provides the spectator the space of experience instead of the space of simply watching. The visual tactility perceived in this space means for the spectator extension of the senses as a new visual experience beyond a mere ‘attraction’.

stereoscopic animation, space, Z-axis, mies-en-scene, presence, aesthetic, <A Christmas Carol>, <How to Train Your Dragon>