Whether at the cinema or at home, most of us have slipped on a pair of 3D glasses at some point. Yet, over the past decade, those once-familiar glasses have become increasingly scarce, and 3D TVs are now mostly gathering dust, locked in their 2D modes. So, what changed? Why have audiences turned away from 3D, and is there any hope for a resurgence of this once-revolutionary cinematic experience?
Recently, a remastered 3D version of Coraline hit cinemas for its 15th anniversary, and unsurprisingly, the seats were filled mostly with adults rather than the film’s intended audience of children. This can be attributed to the strong sense of nostalgia that Coraline holds for those who were once, and perhaps still are, terrified of the “Other Mother.”
The decision to release it in 3D seemed to capitalise on that nostalgia, offering a new visual experience that allowed audiences to relive the thrill of watching it for the first time in a new light. Moreover, the film’s jump-scare nature fits 3D like a glove, a quality that many other films failed to capture over the last decade.
A History of 3D Films
It’s been over a century since The Power of Love (1922), the first 3D feature film, which set the stage for the evolving technology and audience fascination, especially due to the somewhat peculiar red and green glasses needed to view the effects.
It wasn’t until the 1950s that 3D cinematography hit its golden age with hits such as Bwana Devil (1952), which combined 3D technology and colour for the first time. However, by the mid-1950s, enthusiasm for 3D began to wane. The technology required films to be projected from two reels simultaneously, which was deemed too complicated for a casual viewing experience and therefore interest began to decline. Despite this, the period from 1950 to 1955 experienced the highest output of 3D films since the technology’s inception, a record that wasn’t surpassed until the resurgence of 3D cinema started in 2009.
As with any golden age, 3D cinematography experienced a temporary pullback, which lasted until the mid-1980s. During this period, innovations such as I.M.A.X.’s synchronisation improvements, experiments with 4D, the introduction of polarised lenses, and advancements in digitisation and processing throughout the 1990s rejuvenated 3D filmmaking, paving the way for a second golden age in the 2000s.
The Polar Express (2004) played a key role in this revival by using motion capture to create realistic 3D animation. Although the film received mixed reviews—some appreciating its visuals and others criticising its “uncanny valley” effect—it was crucial in showcasing the potential of 3D and setting new standards for animated features.
However, director James Cameron truly mastered the art of 3D filmmaking with blockbuster hits like Avatar (2009). A Final Gear survey found that 84% of audiences preferred Avatar in 3D over the 2D format, highlighting how the meticulous craftsmanship and innovative technology made the 3D experience exceptional—a standard that became increasingly rare in the years that followed.
The vibrant, immersive world-building of Avatar made it ideally suited for 3D, as its rich, detailed environments and dynamic visual effects enhanced the depth and realism of the film, drawing viewers into its fantastical universe.
In an interview with The Guardian, Cameron said: “[It’s] one thing [to shoot] in 3D and another to convert to 3D. Studios were simply trying ‘to make money,’ pushing 3D to directors who are not comfortable or do not like 3D.”
Following Avatar’s success, there was an unprecedented surge in 3D films. Many movies, such as The Last Airbender (2010) and Green Lantern (2011), were converted to 3D in post-production, seemingly to boost profits rather than for artistic reasons. These conversions often felt lacklustre, contributing to growing disinterest, especially as ticket prices for 3D films increased.
This trend extended beyond cinemas: in 2010, manufacturers like LG, Phillips, and Sony began producing 3D-ready TVs, allowing viewers to bring the 3D experience home. Despite these advancements, 3D remained relatively expensive and imperfect, with films often lacking the colour richness and sharpness of their 2D counterparts.
Critics increasingly viewed 3D technology as more of a gimmick than a genuine innovation. High production costs, coupled with issues like headaches and eye strain, led to growing dissatisfaction and a return to the more cost-effective and comfortable 2D format. Overall, the overconsumption of 3D films contributed to its inevitable downfall transforming what was once deemed remarkable into a common courtesy of all blockbuster films.
3D in the modern day
While 3D is definitely in deficit, recent years have shown a love and appreciation for 3D if it is executed well. In a Vivid Q&A event, James Cameron said: “I guarantee one thing: Avatar 2, 3, 4, and 5 are all going to be in 3D and they will look sumptuous.”
He seems to have stuck by this promise, and to audiences’ delight Avatar: The Way of Water (2022) was not only a blockbuster hit that became the third-highest-grossing film of all time, but it also featured a 3D version that attracted audiences for the same reasons as its predecessor.
This year has seen a few 3D film releases in cinemas, such as Despicable Me 4 and Deadpool and Wolverine but what sets out a good 3D film to a good film that happens to be 3D is if it adds to the storyline and worldbuilding which the Avatar films do superbly. Although Coraline was not technically released this year, its remastered 3D version stands out as one of the only recent examples where discussions have focused on the 3D effects rather than just the storyline of the film. A Rottentomatoes reviewer noted that: “The remastered 3D was nothing short of perfection.”
When audiences talk about how their friends need to see a film in 3D, it shows that the 3D effects were thoughtfully integrated rather than being just a gimmick—an approach that could be key to sparking a new wave of 3D cinema. With emerging technologies such as Apple Glasses and Google Glass potentially rekindling interest in 3D, there’s hope that these innovations will bring new excitement to the medium.
For 3D to truly thrive again, film production companies must prioritise genuine creativity and meticulous craftsmanship. If done right, these advancements could not only revitalise 3D cinema but also ensure it remains a compelling and integral part of the cinematic experience.
While the future of 3D cinema remains uncertain, if nothing else, the highly anticipated release of Avatar: Fire and Ash in December 2025 promises to be another visually stunning 3D experience. This potential revival offers hope that the format will continue to captivate and inspire. As long as innovations like these keep pushing the boundaries, 3D cinema may yet find new ways to enchant audiences and solidify its place in the cinematic landscape once again.
Words by Libby Jennings
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