britt salvesen
er-Walczak’s meditative stereoscopic animations challenged expectations based on the gag-filled 3-D feature films of the 1950s, and on contemporaneous CGI efforts such as Jurassic Park. Monsters of Grace paved the way for an entire range of experiences, both private and collective, that we now describe as “immersive.”24 Ironically, the film would be more difficult to show today than the traditional stage props it was meant to replace: difficult, but certainly not impossible given digital scanning and projection systems. Monsters of Grace will surely be better appreciated when it can be seen by the 21st-century audiences invoked by its creators.
24) Alison Griffiths, Shivers Down Your Spine: Cinema, Museums, and the Immersive View (New York: Columbia University Press, 2008).
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