Titanic

The Titanic sank a century ago. I thought that just about everything had been said about it already! But a recent article from the New Yorker (April 16 2012 edition) has piqued my curiosity.

As posted in Arts and Letters Daily,  Unsinkble: Why we can’t let go of the Titanic , tells us “The Titanic is about more than morbid fascination: technological hubris, race, class, gender. Our obsessions were in place long before she set sail…” 

Click on the underlined link above for Daniel Mendelsohn’s fascinating  article. He compares literary and film treatments and analyses the mythic proportions of the tragedy. It is worth taking the time!

Wikipedia outlines three separate wave of interest in the story… Click the link here to see more!

A prominent role has been played by the RMS Titanic in popular culture since her sinking in April 1912. The disaster and the Titanic herself have been objects of public fascination for many years. They have inspired numerous books, plays, films, songs, poems and works of art. The ship’s story has been interpreted in many overlapping ways, including as a symbol of technological hubris, as an indictment of the class divisions of the time, and as a romantic tragedy. It has inspired many moral, social and political metaphors and is regularly invoked as a cautionary tale of the limitations of modernity and ambition.

The film has been released again in 3D. How does one take a movie not filmed in 3D and convert it to the new format? I found out!

How did James Cameron convert a movie from 15 years ago into 3D? There are two key parts, according to the New York Times. (Click here for the rest of the explanation.)

  • No more shadows: 3D works by giving your right eye and your left eye two slightly different images. That creates a shadow between them where information is lost. Animators had to fill in those gaps with pixels from areas nearby.
  • Depth of field: a key part of 3D is making things look like they’re coming at you or receding into the background. Artists had to create this illusion for shots where there are characters interacting. To do so, they assigned each layer a level of depth and made a map – kind of like a topographical map of a mountain. They could then pull different layers forwards or backwards.

I have seen the original film several times, but after reading Mendelsohn’s article, I want to see it again… on the big screen, in 3D.

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