3d Integrations In The Great Gatsby

eryone dreams to be a celebrity or to have the celebrity life style. Flashing lights, rich companions and connections, mansions and extravagant cars. The image of popularity and prosperity is a common one. Mass media blasts spectators with this desire, placing it on billboards, in Television adverts, magazines and films. A day does not pass by without us wishing we were celebrities. In this essay I will be discussing the use of 3D integrations in film to help enhance reality and immersions in cinemas and home cinemas. I will further discuss notions of the simulacrum and reality by referring to Michael Camille, Walter Benjamin, Kevin Hart and Tyler Parker. I will discuss these notions by unpacking a 3D film titled The Great Gatsby directed by Baz Luhrmann.

This ‘uniqueness’ is justified by the experience that the individual has of the art work while it’s still in its original form and context (area) (Benjamin 1955:795). The introduction of the camera created a new spectator who was and still desires to bring all type of art works and experiences that they would not typically have “close” to them (Benjamin 1955:795). This new spectator could now view the best priced and valued work without traveling to its original space and ‘seeing’ it in person and in its cultural context (Benjamin 1955:795). This according to Benjamin (1955:793) detached the cultural value of the original art work and its duplicates made its importance and mystery depreciate into that of an ordinary