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15 This was the approach hurriedly taken during the 1950s 3-D movie boom by the studios and their camera departments. The audience filled the Egyptian Theatre in 2003 at the first World 3-D Film Expo in Hollywood. Photograph by Philip Steinman. 3 Converging in Time Revisiting the 1950s 3-D Films The 3-D movie boom of 1952–54 could be characterized as the second historical phase for stereoscopic cinema, an era of convergence—and not just because many of the dual-camera technologies of the time incorporated that optical feature into their stereo photography.
Ackerman, and Ray Bradbury (It Came from Outer Space). These individuals were interviewed by Dan Symmes and Michael Schlesinger and also fielded questions from the audience. Excellent program books were published for each of the World 3-D Expos and are still available for purchase from SabuCat Productions, as is a DVD of 3-D trailers with anaglyph footage and a festival T-shirt and poster. Kiss Me, Film; or Stereo Kinesthetics In revisiting historic stereoscopic films, the World 3-D Film Expos represented a kind of new and improved infancy for the 3-D cinema—a second Converging in Time 41 chance to come across.
In thematically working through a mood of paranoia and fatalism to one of moral self-control, Man in the Dark is Deep Black and White 47 Kathleen Hughes and Richard Denning play torrid lovers in The Glass Web (1953), directed by Jack Arnold. A. Rawley is redeemed at the end, not doomed, and the stereoscopic imagery underscores both the darkness and the nature of this narrative progression. Universal’s 3-D Director Jack Arnold was the 3-D director of choice at Universal-International, and when Kathleen Hughes was cast in a brief part in his It Came from Outer Space, released May 26, 1953, her few minutes of on-screen time were so torrid that she was subsequently cast as Paula Ranier in the 3-D noir mystery The Glass Web, which the studio released on October 6, 1953, in a 2:1 cropped format they called Wide-Vision.