Hot on the heels of the long-gestating news that Lucasfilm intends to begin rereleasing all six Star Wars episodes in 3D starting in 2012 (covered here), the internet rumor bees went abuzz about the possibility that this could mean another threequel of Star Wars episodes, as it would mirror the announcement of The Phantom Menace and the digitally re-mastered releases of the original trilogy in the 90’s.

In much less dramatic fashion, it seems to have rather signaled the development of 3D post-conversions for the Indiana Jones films. Raiders of the Lost Ark is obviously 1^st up in the queue, and it’s unclear whether the one-a-year strategy planned for Star Wars will be carried over for these or where the theatrical runs of the two series will fall with respect to one another. According to Blue Sky Disney, George Lucas is expected to make an official announcement next month, and if it all pans out as reported we’ll have more for you then.

Hit the jump for more on 3D post-conversion and why nostalgia should be held sacred.

The prospect of a 3D conversion for Indiana Jones is hardly a shock, what with Lucas’ outspoken, giddy reaction to James Cameron’s Avatar, but it still irks me. Since I’m skeptical that any filmmaker has yet to find an artistic recipe that calls for 3D to enhance more than the presentation and price of the dish they’re serving, at least native 3D films have lighting-correction for the picture and accurate depths of field. With the feasible exception of animation-heavy movies like Tim Burton’s Alice in Wonderland, 3D post-conversion has proven only to actively detract from one’s enjoyment of a film, as was the case with Louis Leterrier’s Clash of the Titans. However, with James Cameron overseeing Titanic in 3D and the unexpected decision by Warner Bros. to cancel the 3D treatment for Harry Potter and the Deathly Hallows-Part 1’s initial run to avoid a rush job, perhaps I’m slamming the door on the technology a bit prematurely.

It’s no secret that George Lucas has always relished applying the latest digital technology in order to-according to his own perception-improve his past classics (Han shot first Mr. Lucas) or modernize his franchises, as was the case with the cartoonish Star Wars prequels and the CGI prairie dog-loaded Kingdom of the Crystal Skull. With remakes overtaking the market and childhood memories in jeopardy, it’s frustrating when the filmmaker behind the original films is the one who is tainting the legend. In my opinion, the beauty of Raiders relies as much on Ford’s one-liners as it does the dust and grain. What’s next? American Graffiti in 3D?