ABSTRACT
Since the very invention of the cinema as a popular entertainment device in the late 19th century, it has been the aim of producers, directors, production designers, and directors of photography to reproduce and project our perceived three-dimensional reality onto a two-dimensional movie screen. Besides resorting to those 3D glasses, the fi lmmaker uses such fi lmic techniques as breaking up the photographed scene, or frame, into three specifi c planes discussed in Chapter 3: foreground (FGD), middle ground (MGD), and background (BGD). Adding interesting shot angles and vividly rendered light and shade to the fi lmed objects also enhances the threedimensionality (Figure 5-1).
