Plastic Reality : : Special Effects, Technology, and the Emergence of 1970s Blockbuster Aesthetics / / Julie Turnock.

• Superior document: Title is part of eBook package: De Gruyter Columbia University Press Complete eBook-Package 2014-2015
• VerfasserIn: Turnock, Julie,
• Place / Publishing House: New York, NY : : Columbia University Press, , [2015]; ©2015
• Year of Publication: 2015
• Language: English
• Series: Film and Culture Series
• Physical Description: 1 online resource (384 p.) :; 48 photos and diagrams
• Other title: Frontmatter --; Contents --; List of Illustrations --; Acknowledgments --; Introduction --; PART I. Before 1977 --; 1. Optical Animation --; 2. Before Industrial Light and Magic --; PART II. Circa 1977 --; 3. The Expanded Blockbuster --; 4. "The Buck Stops at Opticals" --; 5. A More Plastic Reality --; 6. "More Philosophical Grey Matter" --; PART III. The 1980s and Beyond --; 7. Optical Special Effects into the 1980s --; 8. "Not-too-Realistic" and Intensified Realistic Approaches in the 1980s --; Conclusion --; Notes --; Bibliography --; Index --; Backmatter
• Format: Mode of access: Internet via World Wide Web.
• ISBN: 9780231535274; 9783110665864
• DOI: 10.7312/turn16352
• Access: restricted access
• Hierarchical level: Monograph
• Statement of Responsibility: Julie Turnock.

Julie A. Turnock tracks the use and evolution of special effects in 1970s filmmaking, a development as revolutionary to film as the form's transition to sound in the 1920s. Beginning with the classical studio era's early approaches to special effects, she follows the industry's slow build toward the significant advances of the late 1960s and early 1970s, which set the stage for the groundbreaking achievements of 1977. Turnock analyzes the far-reaching impact of the convincing, absorbing, and seemingly unlimited fantasy environments of that year's iconic films, dedicating a major section of her book to the unparalleled innovations of Star Wars and Close Encounters of the Third Kind. She then traces these films' technological, cultural, and aesthetic influence into the 1980s in the deployment of optical special effects as well as the "not-too-realistic" and hyper-realistic techniques of traditional stop motion and Showscan. She concludes with a critique of special effects practices in the 2000s and their implications for the future of filmmaking and the production and experience of other visual media.