Cinema in the Digital Age

Overview

Does the digital era spell the death of cinema as we know it? Or is it merely heralding its rebirth? Are we witnessing the emergence of something entirely new? Cinema in the Digital Age examines the fate of cinema in this new era, paying special attention to the technologies that are reshaping film and their cultural impact. Examining Festen (1998), The Blair Witch Project (1999), Timecode (2000), Russian Ark (2002), The Ring (2002), among others, this volume explores how these films are haunted by their analogue...

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Cinema in the Digital Age

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Overview

Does the digital era spell the death of cinema as we know it? Or is it merely heralding its rebirth? Are we witnessing the emergence of something entirely new? Cinema in the Digital Age examines the fate of cinema in this new era, paying special attention to the technologies that are reshaping film and their cultural impact. Examining Festen (1998), The Blair Witch Project (1999), Timecode (2000), Russian Ark (2002), The Ring (2002), among others, this volume explores how these films are haunted by their analogue past and suggests that their signature element are their deliberate imperfections, whether those take the form of blurry or pixilated images, shakey camera work, or other elements reminding viewers of the human hand guiding the camera. Weaving together a rich variety of sources, Cinema in the Digital Age provides a deeply humanistic look at the meaning of cinematic images in the era of digital perfection.

Wallflower Press

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Editorial Reviews

Choice

Clearly demonstrating the mainstreaming, permanence, and legitimacy of digital cinema, which was once considered avant-garde, this book is a must read for students of film and new media.

Choice
Clearly demonstrating the mainstreaming, permanence, and legitimacy of digital cinema, which was once considered avant-garde, this book is a must read for students of film and new media.
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Product Details

  • ISBN-13: 9781905674855
  • Publisher: Wallflower Press
  • Publication date: 5/26/2009
  • Pages: 224
  • Product dimensions: 6.10 (w) x 9.10 (h) x 0.50 (d)

Meet the Author

Nicholas Rombes is chair of the English Department at the University of Detroit Mercy. He is the author of The Ramones (2005) and editor of New Punk Cinema (2005), as well as a contributor of numerous articles on cinema and culture.

Wallflower Press

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Table of Contents

AcknowledgementsIntroductionThe Adorno ParadoxAgainst MethodAnalogue/Digital SpliceBoredom and Analogue NostalgiaThe Digital SpectacularDisposable AestheticsDV HumanismFilmless FilmsFrame DraggingThe Ideology of The Long TakeImage/TextIncompletenessInterfacesiPod ExperimentIronic ModeLooking At Yourself Looking: Avatar As SpectatorMedia As Its Own TheoryMobile ViewingMoving Space In The Frame, And A Note On Film TheoryNatural TimeNonlinearPausingPunkRealismReal TimeThe Real YouRemaindersSamplingSecondary Becomes PrimarySelf-deconstructing NarrativesShaky Camera Shoot! [ Si Gira]Simultaneous CinemaSmall ScreensTarget VideoTime, MemoryTime-ShiftingTmesis: Skimming And SkippingUndirected FilmsViewer ParticipationVirtual Humanism: PartVirtual Humanism: PartVisible Language, Spring 1977FilmographyBibliography

Wallflower Press

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