Most of the three-dimensional (3D) cinema discussed or mentioned in this book originated in the United States and Europe, with some nods to work done in China, India, and Japan. Many other countries experimented with stereoscopic motion pictures in the early 1950s (e.g., Hungary, the Soviet Union, West Germany, Italy, and Mexico), but each produced only a few films in the process and experienced nothing like the 1952–55 boomlet in Hollywood. In the post-Avatar period, 2010–20, digital 3D movies were widely popular and produced by many non-Western industries, but only a handful of such films appeared outside of their domestic markets either in theaters or on 3D Bluray discs. When the COVID-19 pandemic of 2020–21 ravaged the world's film industries, stereoscopic films nearly disappeared altogether because they could not be viably exploited in either theaters, due to the possibility of viral infection, or homes, due to the scarcity of 3D-capable televisions since 2016. The omission of non-Western cinema cultures from this study is therefore due to a lack of accessibility rather than critical choice.