[From The Red & Black, the independent student newspaper of the University of Georgia]

[Image from Angry AP]
3D will plague screens for years to come
By MEGAN WHITE on September 25, 2011
My first televised encounter with the third dimension occurred at Disney World’s MGM Studios when I was only six years old. In order to fully embrace the tacky tourist experience, my parents had decided to take my sister and me to see “The Muppets” in the park’s high tech, state-of-the-art 3D theater. For a six-year-old in the 90s, anything involving the Muppets was instantly appealing, so with loaded fanny packs and wound-up disposable cameras, we set off for MGM’s three-dimensional extravaganza.
Within 20 minutes, I was in tears. Having a larger-than-life Fozzie Bear come flying out of the screen not only scared the living daylights out of me, but also brought along waves of nausea, a lifelong fear of puppets, and an automatic and deep-seeded disdain for anything in so-called “3D.” Read more on The power and limitations of 3D…
Call: Society for Cognitive Studies of the Moving Image (SCSMI 2012)
Call for Paper Proposals
The Society for Cognitive Studies of the Moving Image announces its call for proposals for the 2012 SCSMI Conference, June 13-16, 2012, at Sarah Lawrence College (June 13-15) and New York University (June 16) in New York. The Society for Cognitive Studies of the Moving Image is an interdisciplinary organization made up of scholars interested in cognitive, philosophical, aesthetic, neuro-physiological, and evolutionarypsychological approaches to the analysis of film and other moving-image media.
Members of SCSMI seek to understand, among other things, the ways in which perceptual, psychological and neural processes relate to spectators’ affective responses, to their comprehension of narratives and other film forms, and to the saliency and effects of particular stylistic features of films. Members also raise questions about how artistic strategies, such as narrative construction, audio-visual technique, and the creation of emotional responses, may be amenable to naturalistic explanations in a cognitive framework. Members are likewise interested in the implications of empirical findings for film theories, as well as philosophical theory-building and conceptual clarification. Read more on Call: Society for Cognitive Studies of the Moving Image (SCSMI 2012)…