| Edition |
Revised edition. |
| Description |
xxxiii, 238 pages : illustrations ; 23 cm |
|
text txt rdacontent |
|
unmediated n rdamedia |
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volume nc rdacarrier |
| Bibliography |
Includes bibliographical references (pages 227-238) and filmography (pages 223-226). |
| Contents |
Accelerationism -- The Adorno paradox -- Against method -- Analog/digital splice -- Blood, simple -- Boredom and analog nostalgia -- The digital spectacular -- Disposable aesthetics -- DV humanism -- Filmless films -- Frame dragging -- The ideology of the long take -- Image/text -- Incompleteness -- Interfaces -- iPod experiment -- Ironic mode -- Looking at yourself looking -- The lost underground -- Love in the time of fragments -- Media as its own theory -- Mobile viewing -- Moving space in the frame, and a note on film theory -- Natural time -- Nonlinear -- Paranormal activity 2 -- Pausing -- Punk -- Realism -- Real time -- The real you -- The reality industrial complex -- Remainders -- Sampling -- Secondary becomes primary -- Self-deconstructing narratives -- Shaky camera -- Shoot! -- Simultaneous cinema -- Small screens -- Target video -- Time, memory -- Time-shifting -- Tmesis : skimming and skipping -- Undirected films -- Viewer participation -- Virtual humanism : part 1 -- Virtual humanism : part 2 -- Visible language, spring 1977 -- Interpreting film images through randomized constraint : the Blue velvet project. |
| Summary |
Have digital technologies transformed cinema into a new art, or do they simply replicate and mimic analogue, film-based cinema? Newly revised and expanded to take the latest developments into account, Cinema in the Digital Age examines the fate of cinema in the wake of the digital revolution. Nicholas Rombes considers Festen (1998), The Blair Witch Project (1999), Timecode (2000), Russian Ark (2002), and The Ring (2002), among others. Haunted by their analogue pasts, these films are interested not in digital purity but rather in imperfection and mistakes--blurry or pixilated images, shaky camera work, and other elements that remind viewers of the human behind the camera. With a new introduction and new material, this updated edition takes a fresh look at the historical and contemporary state of digital cinema. It pays special attention to the ways in which nostalgia for the look and feel of analogue disrupts the aesthetics of the digital image, as well as how recent films such as The Social Network (2010) and The Girl with the Dragon Tattoo (2011)--both shot digitally--have disguised and erased their digital foundations. The book also explores new possibilities for writing about and theorizing film, such as randomization. |
| Subject |
Motion pictures -- Philosophy.
|
|
Motion pictures -- Technological innovations.
|
|
Digital cinematography.
|
|
Digital cinematography. (OCoLC)fst00893633
|
|
Motion pictures -- Philosophy.
(OCoLC)fst01027348
|
|
Motion pictures -- Technological innovations.
(OCoLC)fst01027400
|
| ISBN |
9780231167543 (hardcover ; alkaline paper) |
|
0231167547 (hardcover ; alkaline paper) |
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9780231167550 (paperback ; alkaline paper) |
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0231167555 (paperback ; alkaline paper) |
|
9780231851183 (electronic book) |
|
