4K cinema: a technological innovation in the film industry (original) (raw)
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Journal of arts, 2023
The acceleration of globalization has increased considerably in the last thirty years. Among many reasons for this condition, technological advancements and the use of web have an important place. This situation has changed the dynamics of capitalist finance, social life, educational processes, artistic production methods and production design trends which are positioned at the center of the article. In a period when the interaction is increasing and capitalist control mechanisms may not ignore this interaction, the expectations of people both economically and artistically changed, also simultaneous changes have occurred in the production methods. Now, the media production method has moved out of the processes where the cinema industry is marketing through digitalized mediums and contents in many different media platforms. The audience is now more directly involved in cinema, television, literature and other media as a consumer. The main goal of the research is to analyze this trend of digitalization in cinema through technologies connected to animation and visual effects. In the article firstly, history of animation and technological developments will be summarized and then digitalization of cinema will be described in different aspects. Both technological, artistic and political variations will be analyzed and after that the trends will be shown by graphics from statistical data. This data is taken from "Box Office Mojo" website and the trend include mainly, changes in animation and visual effects technologies. This article will basically try to reveal the changes in the technological and cinematic understandings of production companies that have been most integrated into this orientation in the thirty-year period. In summary, the process will be analyzed through statistics that will reveal the course of globalization, both in terms of orientation towards animation, visual effects and films produced through digital cinema.
JOURNAL OF ARTS
The acceleration of globalization has increased considerably in the last thirty years. Among many reasons for this condition, technological advancements and the use of web have an important place. This situation has changed the dynamics of capitalist finance, social life, educational processes, artistic production methods and production design trends which are positioned at the center of the article. In a period when the interaction is increasing and capitalist control mechanisms may not ignore this interaction, the expectations of people both economically and artistically changed, also simultaneous changes have occurred in the production methods. Now, the media production method has moved out of the processes where the cinema industry is marketing through digitalized mediums and contents in many different media platforms. The audience is now more directly involved in cinema, television, literature and other media as a consumer. The main goal of the research is to analyze this trend...
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.
Impact of Digital Technologies on the Development of Modern Film Production and Television
Rupkatha Journal on Interdisciplinary Studies in Humanities, 2021
The popularity of streaming services has been steadily growing over the past 5 years, and the number of subscribers is increasing. This study was conducted to find out how the popularisation of streaming services affects filmmaking. The history of cinema is inextricably linked with the development of technology. It should be noted that each new page in the history of the film industry began with the invention of new innovations. During the digital age, a rapid leap forward in the television and film industry was also inevitable. Digital cinema is a format that has virtually left film and analogue cinema technology behind. Each revolution in the film industry has been a new step towards providing audiences with a new experience and an even more vivid film experience. Streaming services are one of the innovations that have emerged thanks to the development of digital technologies. They allow viewers to receive content for a fixed price. Streaming guarantees quality and availability wi...
This article discusses the theoretical and historical implications of three dimensions (3D) by revisiting Marshall McLuhan's famous distinction between 'hot' and 'cool' media. McLuhan's characterization of cinema as a 'hot' medium relies on its capacity to produce 'high-definition' imagery, and the pursuit of 3D in cinema in the 20th century had to do with approximating the total vision that only cinema was expected to offer in comparison with television as a 'cool' medium marked by a 'low-definition' image. By contrast, today's resurgence of 3D in its digital form signals that high definition, hitherto regarded as specific to cinema, now involves other screens and interfaces that operate under the logic of media convergence and invite their users' multisensory behaviors. In this context, we argue that this pervasiveness of 3D across different platforms, including mainstream digital 3D cinema, is symptomatic of the broader tendency of contemporary culture to become 'hotter' (i.e. to intensify human senses) and that certain experimental films provide an antidote to the tendency by incorporating low-definition images and offering the viewer a perceptual distance from which to reflect on their status.
Impact Aesthetics: Back to the Future in Digital Cinema?
Convergence: The International Journal of Research into New Media Technologies, 2000
This article engages recent debates about the future of cinema in the digital age. Firstly, it seeks to broaden the rather narrow terms in which the transition to digital cinema is often understood in film theory. Secondly, it tries to assess claims about the 'demise of narrative' frequently associated with the digital threshold. On one level, it is argued that a dialectical understanding of the relation between terms such as 'narrative' and 'spectacle' is needed to advance current debates. On another level, it is suggested that digital technology should not be wholly defined by the current dominance of 'blockbuster' films. In place of technological determinism, an understanding based on the politics of spectacle and distracted spectatorship is advanced.
Digital Technology, Attraction and Cinema
New Approaches in Media and Communication, 2019
Tom Gunning points out that the concept of “Cinema of Attractions” is different from the relationship established by the movie theaters until 1906 from the relationship established by today’s film narratives. “Cinema of Attractions” does not build its structure on narration and scrutiny as it was in the films after 1906, but instead adopts exhibitionism and ‘attraction’ to bring the audience to the fascinating environment of cinema. With modern era film, the emergence of continuity editing has become a norm in film narrative. However, from the end of the 1970s, with the development of technology and the visual effects that have begun to appear in films, it appears that films are beginning to make an aggressive sensory or psychological impact on the audience, like the early period of the filmmaking. The concept of “Expanded Cinema” explains that the director aims to achieve a different cinematic experience through multiple screens and many technological innovations, in addition to the one-way communication of the viewer with the cinema. When the 21st century’s technical possibilities and the consumer culture are brought together through films, it can be said that audiences are now trying a different cinema experience. The digital era in the 2010’s is not only having a continuing narrative in a modern tradition, but also displays itself on the viewer with a variety of ‘digital attractions’ such as visual effects, 3D technology, Greenbox etc. This study aims to discuss the position of digital cinema in the context of postmodernity and consumer culture by examining the possibilities created by digital cinema technology for the viewing experience of viewers through the concept of “Cinema of Attractions”.
Digital Cinema: The transformation of film practice and aesthetics
New Cinemas: Journal of Contemporary Film, 2006
Abstract: This article discusses the emergence of digital cinema and the effect it has had on the practice of filmmaking as well as on the aesthetics of cinema. The article does not look at digital cinema as a kind of technological determinism; rather, digital film-making is looked at as creating new possibilities for cinemas around the world. The article proposes a new way of thinking about digital cinema that locates it within the process of cinematic development, yet that also recognizes the medium's uniqueness in transforming the relationship ...
New Cinematographic Market: tendencies and possibilities of the digital environment
Observatorio (OBS*), 2009
Macroeconomic tendencies are causing deep changes into cinematographic industry, with the aggravating factor that the internationalization of the communicative phenomenon has been joined both to the metropolis and to the periphery. Approximations have been made often on this dichotomy that now includes the problem on the unique stage from the technological and digital revolution. One of the challenges that must be confronted is the audiovisual payment consumption. The digital distribution is affecting deeply the business models and the way to recover investments and profits that are obtained by the movies. The second challenge will be the investment, this is very important in cinema´s case. The cinematographic industry has less money than needs and mostly depends on public supports. The investment is focused in national movies, whereas the market is international. The banks show reticence to betting for the cinema and to investing in, like happens with diffusion networks and telecommunications operators, who are not prepared yet. A last challenge is distribution and international exchanges with third countries. European Union, the major world´s commercial associate, foments the cooperation with third countries. How is it possible to associate the cinema with European Union´s cooperation policies? The world economy evolution is propitiating deep changes into the audiovisual industry and especially in the cinematographic sector, with the aggravating factor that the communicative phenomenon globalization is affecting both the big cities and the small populations. On this way, this study belongs to a work series of FONTA (Training in Audiovisual New Technologies) researching group of the Complutense University of Madrid, in order to study new information and communication technologies development; society stimulates the emergence of a new social organization -in network-and the birth of a new information economy, global and articulated on networks and flows, because of this situation it must be fomented the cinematographic sector companies productivity, appearing then a sort of challenges that will change the way in which we understand this market.