[In English] What will film studies be? Film caught between the television revolution and the digital revolution (original) (raw)
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Since the 1970s, movies have become increasingly dependent on digital technologies. This course explores a range of issues related to the digitization of cinema's production, distribution, and exhibition, including the cultural contexts and aesthetic practices surrounding these technological shifts as well as their experiential and political dimensions. In particular, we will explore such topics as digital cinematography's relation to cinematic realism, emerging trends in editing practices, the political implications of digital special effects, the representation of social media and digital devices in recent films, and the ways that other digital media influence cinematic techniques. Course Standards This course is a 4-credit course, which means that in addition to scheduled discussions, students are expected to do at least 9.5 hours of course-related work or activity each week during the semester. This includes scheduled class lecture/ discussion meeting times as well as time spent completing assigned readings, watching films and video lectures, studying for tests and examinations, preparing written assignments, and other course-related tasks. Readings: All readings are available via Blackboard.
One Hundred Years Apart : Cinema and Digital Cinema
I As we celebrate one hundred years of filmmaking since the release of Raja Harishchandra in 1913, the Indian film industry seems to be in a déjà vu of sorts. Just as cinema during Phalke was breaking fresh technological grounds, cinema today appears to be breaking newer grounds with a new technology of digital cinema. One is likely to observe many parallels between Phalke's times and now, with similar dilemmas, similar despairs and also similar possibilities and exuberances. The arrival of digital cinematography, in more than one way changes the way cinema responds to society and produces and circulates culture, just as once the arrival of the technology of cinema changed the Indian viewing culture. The change in technology that the digital cinema brings about produces some major changes in the kind of cinema that gets made and viewed and accordingly also interact and partake in the constitution and the politics of the society in which it is made and watched. The aim of the present paper is to understand the major changes in the viewer politics which the digital cinema is likely propagate.
Film in the Post-Media Age (ed. by Ágnes Pethő, Cambridge Scholars Publishing, 2012)
Ever since the centenary of cinema there have been intense discussions in the field of film studies about the imminent demise of the cinematic medium, endless articles championing the spirit of genuine cinephilia have proclaimed the death of classical cinema and mourned the end of an era, while new currents in media studies introduced such buzzwords into the discussions as “remediation” (Bolter and Grusin), “media convergence” (Jenkins), “post-media aesthetics” (Manovich) or “the virtual life of film” (Rodowick). By the turn of the millennium, the whole “ecosystem” of media had been radically altered through processes of hybridization and media convergence. Some theorists even claim that now that the term “medium” has triumphed in the discussions around contemporary art and culture, the actual media have already deceased, as digitized imagery absorbs all media. Moving images have entered the art galleries and new forms of inter-art relationships have been forged. They have also moved into the streets and our everyday life as a domesticated medium at everybody’s reach, into new private and public environments (and into a fusion of both via the Internet). Consequently, should we speak of an all pervasive “cinematic experience” instead of a cinematic medium? What really happens to film once its traditional medium has shape shifted into various digital forms and once its traditional locations, institutions and usages have been uprooted? What do these re-locations and re-configurations really entail? What are the most important new genres in post-media moving pictures? Is it the web video, is it 3D cinema, is it the computer game that operates with moving image narratives, is it the new “vernacular” database, the DVD, or the good old television adjusted to all these new forms? How does theatrical cinema itself adapt to or reflect on these new image forms and technologies? How can we interpret the convergence of older cinematic forms with an emerging digital aesthetics traceable in typical post-media “hosts” of moving images? These are only some of the major questions that the theoretical investigation and in-depth analyses in this volume try to answer in an attempt at exploring not the disappearance of cinema but the blooming post-media life of film.
Film for the Future (journal issue introduction)
Framework: The Journal of Cinema and Media, 2021
If the canon has too long been dominated by white, male, cishet auteurs and their on-again/off-again relationship with big Hollywood industry, the death of film has created space for collective voices, different perspectives, wayward formats, greater accessibility, and activist mobilizations. This is the story of the future of film, which is mischievously unfolding before our very eyes.
This review essay examines three new titles -Shadow Economies of Cinema, Digital Disruption, and Screen Dynamics -that add to the canon of work on how the digitalisation of film and the plethora of new technologies and associated innovations have impacted on the discipline of film studies. What the three titles demonstrate well is the current fluctuation occurring within film studies, as scholars attempt to articulate and make sense of the changes occurring within the discipline in this contemporary era of media convergence.