Cynthia Freeland

I happen to have a visual impairment known as strabismus, which means that the information from my eyes is not successfully fused in my brain, so I lack stereoscopic vision. Hence I was surprised to find I could see some depth effects of recent 3D films such as Wim Wenders’s Pina. This experience has prompted me to explore both further information about binocular vision and various disputes about the aesthetic merits of 3D films. My paper takes up the following topics: (1) a review of information about binocular vision and the problem of strabismus; (2) a summary of 3D film history and techniques; (3) a discussion of the aesthetic merits and deficits of some “best cases” of contemporary 3D films, concluding with (4) assessments of the meaning of claims about 3D cinema’s alleged superior “realism.” I consider three proposals about the superior realism of 3D movies with the aim of summarizing what the latest ventures in this mode mean to those of us who lack normal binocular vision.

The horizon for feminists studying horror films appears bleak. Since _Psycho_'s infamous shower scene, the big screen has treated us to Freddie's long razor-nails emerging between Nancy's legs in the bathtub (_A Nightmare on Elm Street I_), De Palma's exhibitionist heroine being power-drilled into the floor (_Body Double_), and Leather-face hanging women from meat hooks (_The Texas Chain Saw Massacre_). Even in a film with a strong heroine like _Alien_, any feminist point is qualified by the monstrousness of the alien mother, the objectification of Sigourney Weaver in her underwear, and her character Ripley's forced assumption of a maternal role. Despite all this, there has been some feminist work on horror, and I believe there is room for more. In the first part of this paper I shall survey and criticize currently dominant psychodynamic feminist approaches to horror. In the second part, I propose an alternative framework for constructing feminist interpretations of horror films by critically interrogating their gender ideologies. My proposal focuses less on the psychology of viewers than on the nature of films as artifacts with particular structures and functions. In the third part I illustrate my recommended framework by sketching readings of _Jurassic Park_ (Spielberg 1993), _The Fly_ (Cronenberg 1986), and _Repulsion_ (Polanski 1965).