Abstract

The purpose of this study is to find out how the spatial background, characters, conflicts, etc. They were used for each of the narrative components in in-3D depth assignments. The narrative feature of S3D movies is the primary maximization of synesthesia. Space was not only used as a background of the film but was also changed and expanded. Avatar, A Christmas Carol, How To Train Your Dragon, and Coraline all show a clear contrast between 'here' and 'there'. Another way to maximize synesthesia is to arrange and organize layers. At the opening of A Christmas Carol, the camera drives the city from the sky and adjusts the speed and angles variously so that the people in the building and the street move into the urban space where the layers form. They stereotyped the arrangement of layers to the synesthesia that people have when they look at the world as they fly through the sky. It also moves in space. It is a narrative device that seeks to maximize the virtual reality experience by using the motif that the character moves in space such as is used in Avatar and A Christmas Carol. This spatial setting and spatial movement are the narrative features of S3D movies only because they are the most effective way to express stereoscopic effects. There is no generalized formula for characterizing good characters: positive space, evil characters are negative spaces. However, the good character and the evil character have stereoscopic values in the opposite direction. And the stereotypes assigned to one character are consistent within the narrative. Only then can the audience perceive one character in the same sense. Even when characters are in conflict, they are expressed using stereographic values. How To Train Your Dragon consists of one plot and two subplots. At this time, the plot shows the 'external conflict' in which the dragon and the human are confronted, and the subplot shows the 'internal conflict' in which the main character Hiccup must overcome his physical and mental defects. The narrative conflict has a deep correlation with the stereoscopic value. Since S3D movies evoke realistic feelings through realistic 3D effects, auditory elements are as important as the visual. Avatar uses auditory elements to distinguish the world of the earth and the world of the Sky. S3D should always be remembered as a means of emphasizing a well-made story, a means of immersive storytelling. In other words, in order to make an S3D movie even if it can be made into a 2D movie, a corresponding scenario should be supported, and the elements of narrative should be constructed so as to realize presence. This study is meaningful in that the three-dimensional sensation is clarified in the narrative. Additionally, I examined whether the components of the narrative worked to give a sense of existence. I hope that this research will help to create scenarios of S3D movies in the future and can be used for shooting and editing.