Digital Cinema Research Papers - Academia.edu (original) (raw)

In this article, I aim to examine the ways virtual technologies have affected on the arrangement of the cinema space. Virtual technologies are eventually referenced here as virtual production (VP), which makes it possible for filmmakers to mix live footage and computer graphics interactively while filming on set. The cinema space, respectively, is delineated along the views provided by the enactive approach and neuroscience of emotion. The enactive approach in cognitive science describes the relationship of a human being to her environment as an embodied experience, and neuroscience of emotion bridges the gap needed to understand the role of an enactive system in meaning-making. I will also focus on how the concept of digital cinema has evolved since its beginning from the perspective of both practice and theory. I render how digital cinema first resembled in its functions the traditional glass matte paintings behind the character and gradually turned into manifesting an essential hookup between the filmmakers and digital content. I wish to abandon the idea that digital image just represents a pictorial illusion of reality and instead see it making possible a lifelike simulation of the digital environments throughout the filmmaking process, eventually blending the borders of pre-, production and postproduction phases. This weaving of interactive digital tools into cinema practice has created new approaches, which tend to emphasize intense body-related experiences, thus conveying a thickened sense of immersive presence in the film experience.

El Diccionario de conceptos y términos audiovisuales, tal y como reza el subtítulo, es una herramienta conceptual, docente y práctica, orientada a su uso como consulta y, en su caso, divulgativa. Si bien el objetivo esencial es que el lector pueda navegar con seguridad en el entorno de los innumerables términos necesarios para la ejecución del análisis fílmico, no queda ahí su validez. De hecho, cada término va acompañado de bibliografía (elemental, si se quiere, pero indispensable) que permitirá con facilidad ampliar las líneas de autoformación propias de cada individuo, con especial rentabilidad para los alumnos universitarios.
No se pretende una acumulación global de conocimientos ni tampoco una visión holística, sino un anclaje de punto de partida que permita dar el salto hacia mayores capas de comprensión del universo audiovisual, incluyendo las múltiples novedades aportadas por la era digital. Para ello, se sigue la estela de los 'Keywords Reference Books' y más concretamente del excelente texto de Jacques Aumont y Michel Marie, ?Dictionnaire théorique et critique du cinéma', más orientado hacia la teoría que hacia la divulgación de los recursos expresivos y narrativos, campos ambos que aquí sí se abarcan.
Este es un texto inédito en nuestro panorama editorial y a buen seguro se ampliará y crecerá con las aportaciones críticas de los lectores y, además, se refuerza mediante ejemplos gráficos en el sitio web construido al efecto, de libre acceso, http://www.analisisfilmico.uji.es.

- by Javier Marzal-Felici
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- Film Studies, Film Theory, Film Analysis, Digital Cinema
- by Nazim Ankaraligil
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- Screenwriting, Visual Studies, Design, Art

RESUMO: Através de breve relato das transformações tecnológicas apresentadas pelo cinema ao longo de pouco mais de um século, o presente artigo aborda como a função atualmente denominada direção de arte acompanha estas inovações. Tendo... more

- by Gilka Vargas
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- Digital Cinema, Cinema, Tecnologia, Direção De Arte
- by Kevin Fisher
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- Film Theory, Digital Cinema, Phenomenology, Science Fiction

The unprecedented economic growth and immigration that Ireland experienced between 1995 and 2007 did not only challenge national but also ethnic, social, and gender identities. The contributions to this volume explore how films tackle these challenges and help to make sense of Ireland’s altered position in a globalised world. Among the films discussed are some of the most critically acclaimed Irish films of recent years, including Once (2006), Adam & Paul (2004), Garage (2007), and The Secret of Kells (2009), as well as the work of Oscar-winning director and writer Neil Jordan. The volume is completed by an extensive interview with award-winning director Lenny Abrahamson, and his collaborator, screenwriter and actor Mark O’Halloran.

- by Seán Crosson
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- Cultural Studies, Irish Studies, Media and Cultural Studies, Film Studies

Perhaps it is telling that on the day that Steve Jobs (Danny Boyle, 2015) was released in the UK, so too was Tangerine (Sean Baker, 2015), which tells the story of transgender sex workers in Los Angeles. For, if the former film charts the rise to success of the entrepreneur behind various of the Apple products that now flood the world market, the latter film was made using one of Jobs’ best known products, the iPhone.

- by William Brown
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- Film Studies, Film Theory, Digital Cinema, American Cinema

This chapter aims to present mental representations by seven audiovisual specialists on Sirena, the antagonist of a noir fictional story in a multilinear interactive short film script. To this end, a reception study was created with in-depth interviews with specialists after reading the script to discuss its several aspects. This approach is of qualitative character. The study was conducted between June and October 2015 in São Paulo, Brazil. It is possible to perceive that participants have interpreted the character differently in spite of its consistent build. We could verify that the mental representation of the antagonist was aided by the world-view and experience of each interviewed specialist, which has led to unique readings of the character.

- by Raul Busarello
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- Psychology, Digital Cinema, Symbolic Interaction, Interaction
- by Alfredo Luiz Suppia
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- Digital Cinema, Science Fiction, Uruguayan cinema, Independent Cinema

The following articles are framed around the assertion that cinema audiences can be as unwieldy, wild and dynamic as the films that play on the screen. In this Themed Section on the subject of cinema-going behaviour, etiquette and decorum, we have sought to canvas a wide range of cultural contexts, technological innovations or disruptions and time periods. Throughout, our aim has been to continue the task of questioning just how cinema and screen culture broadly is experienced and engaged with day-today in-situ and, in the process, how it is reshaped and animated by the audience. Today, screen media are ubiquitous and very often experienced in relative isolation on laptops and hand-held devices within intimate, private spaces and virtual cocoons of seclusion carved out of public space-as when travelling on public transport, for instance. Yet, cinemas continue to operate despite ailing business models and screen media that is accessed online involves exciting new means of social inte...

- by Jihoon Kim
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- Cinema (Celluloid and Digital), Intermediality, Digital Cinema, Film & Digital Video
- by Carolina Larrain
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- Latin American Studies, Film Studies, Digital Media, Digital Cinema

The documentary sports film has evolved considerably since it first appeared in the 1930s. As was a feature of early documentary in the 1920s and 1930s, its first manifestations adopted a poetic approach to the subject, revelling in the possibilities that sport offered to exploit the growing range of capabilities of film in both cinematography and editing. Eventually an expository approach would come to dominate under the influence of the British school of documentary but also as the preferred televisual mode for documentary film, and it is in this mode that most television sport documentaries currently employ. In response to perceived weaknesses of the expository mode, and the advent of new technologies in the 1960s, filmmakers exploited an increasingly observational mode in their depictions, and this would also feature to a limited degree in depictions of sport. Directors of sport films have tended to prefer a participative (or interactive) mode in their approaches to the topic, exemplified in the use of the interview method as a means of exploring the subjects considered. However, increasingly, as with documentary films in general, the cinematic sport documentary employs aspects of several modes, particularly the participatory and expositional. While initially priding itself on its distinctness as a form that captured with integrity aspects of social reality, the documentary film has more and more in its cinematic form come to adopt aesthetics associated with popular fiction film. Though documentary has long being viewed as the form best placed to provide complex engagements and understandings of the social and political contexts of the subjects featured, this is increasingly no longer the case in its contemporary cinematic manifestations. Rather, the focus has moved to exploiting the dramatic possibilities of found footage or renderings of social reality rather than providing a means of understanding or engaging critically with such footage. The cinematic sport documentary film has instead focused, as in fiction film, on individualist tales of overcoming and achievement often configured within the familiar three-act-structure of popular cinema. As such, in the post 9/11 moment, the cinematic sport documentary film has provided, in common with its fictional counterpart, a further affirmation of the American Dream ideology in individualist tales of overcoming and achievement often against the most extraordinary odds.

- by Seán Crosson
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- Film Studies, European Cinema, Film Analysis, Documentary (Film Studies)

El sonido es una pieza fundamental para la mejorar de la experiencia de usuario ante los contenidos audiovisuales. En este articulo hacemos un repaso de los estándares de calidad de sonido aplicables al video en ultra alta definición y el cine 4K
Comenzamos describiendo los parámetros de calidad del sonido digital: frecuencia de muestreo (Sample Rate) y profundidad de bits (Bit Depth). A continuación, abordamos una cuestión fundamental: la sonoridad (loudness) que nos acerca a conceptos como el rango dinámico del sonido y la compresión dinámica.
Una vez expuestas estas bases teóricas repasaremos los distintos códecs para sonido envolvente que se están utilizando o desarrollando para el cine 4K y el vídeo de ultra alta definición. Lo hemos organizado en cinco apartados: 1) Los inicios del audio digital para cine 2) Sonido inmersivo, sonido 3D o sonido basado en objetos 3) Sonido para salas de exhibición de cine 4) Códecs Sonido para televisión en UHD y Blu-ray 5) Códecs de sonido para difusión por internet

- by Francisco Utray and +1
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- Digital Cinema, Sonido, 4K technology

La otra pantalla. Redes sociales, móviles y la nueva televisión Elena Neira Barcelona Editorial UOC, 2015 149 páginas 14 € Big Data. Eje estratégico de la industria audiovisual Eva Patricia Fernández (ed.) Barcelona Editorial UOC, 2016... more

- by J. Ignacio Gallego
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- Digital Cinema, Television, Big Data, Medios de Comunicación
- by Renataa Fernandezz
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- Digital Cinema
- by Anja Ivekovic Martinis
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- Digital Cinema, Philippines, Philippine Cinema, Loss and Trauma

In screen studies and photography studies, the name of the acclaimed film theorist and critic André Bazin is frequently invoked by scholars seeking to defend the import of analogue media on ontological grounds by citing photography's privileged connection to the real. This article seeks to unsettle Bazin's reputation as the patron saint of analogue recording by exploring the ontological implications of the concept of sense in Bazin's writings on neorealism. Placing Bazin's writings into dialogue with a selection of critiques that find the digital image to be lacking in historicity, negativity, and presence, and flag its potentially authoritarian impulses, this essay seeks to reframe Bazin's ontological project as a question of cinema's sense (rather than its essence) to mobilize a different set of conclusions that may in fact prove to restore faith in the digital image and its rapport with the real. By maintaining that what is often treated as a purely technological problem also harbors aesthetics implications, this article confronts the manifest skepticism that has pervaded the discourse around the digital since the 1990s, seeking an alternative outlook in Jean-Luc Nancy's work on sense, an ontological concept that evidences the political potentials (or potential politics) of Bazin's predilection for images, which are said to ameliorate our love for reality by transmitting the excessive sense of the world in its ambiguity, creativity, and unpredictability.

- by Corey P Cribb
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- Film Theory, Digital Photography, Jean-Luc Nancy, Digital Cinema
- by Nick Jones
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- Media Archaeology, Digital Cinema, Digital Culture, 3D Cinema

The history of Brazilian cinema is marked by many moments of euphoria and production crisis. Since the 1990s (a period that became known as the Resumption of the Brazilian Cinema), the film market in Brazil has been stable and film production has increased each year, according to the National Agency of Brazilian Cinema (ANCINE). Thanks to new digital equipment, there is the " prosumer " , who not only consume what is produced, but also produces, even in an amateur way. However, the increase in production does not mean reach an audience without restriction, either through cinema, whether in home video distribution or internet. From the difficulties of distribution and exhibition in commercial theaters, the digital format has created favorable conditions for democratization of the access to the movies, facilitating them from reaching the public and in various formats. This communication is intended as an argument: a look at the brazilian film production in the first decade of this century, some of the strategies used in the context of new media, distribution and exhibition of produced works. Digital Cinema as a key guiding concept alludes to the multiplicity of aspects and highlights how the effects of new media led to the change in cinema.

- by Alfredo Taunay
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- Digital Cinema, Cinema brasileiro

The Phoenix is one of only a handful of British cinemas to have remained active for the past 100 years. This is the story of Oxford’s oldest continuously operating cinema, as told by its staff and customers. Featuring first-hand reminiscences dating back to the days of silent movies, and illustrated with a fabulous collection of over 100 images, many of which have never appeared in print until now, 'The Phoenix Picturehouse' presents a wide-ranging account of a popular local institution whose changing fortunes exemplify a century of British cinema and cinemagoing history.

- by Deborah Allison and +1
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- Media Studies, Media and Cultural Studies, Reception Studies, Film Studies

In this article I am considering the situation of interactivity and interactive film in the institutional context of the cinema that is outlined by the rules of cinematographic industry. I draw attention to the fact that despite the ongoing digitalization in all cinematographic areas: production, distribution, presentation, and reception, interactivity is seen as a non-film feature and, as a consequence, it is marginalized. Cinematography opens up to any digital technological innovations that do not violate a standard model of film experience. Interactivity is seen here as a feature of games and not of films. An interactive film that is thrown to the periphery of institutionalized cinema, becomes a phenomenon of audiovisual avant-garde that is a common part of both cinema and art.

- by Ryszard W . Kluszczyński
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- Participatory Media, Contemporary Art, Visual Culture, Hybridity

- by Patricia Bieging and +1
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- Memory (Cognitive Psychology), Digital Cinema, Symbolic Interaction, Interaction
- by Recep Yilmaz
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- Literature and cinema, Scriptwriting, Digital Cinema, Scenario planning

(from editor's introduction): "...Alla Gadassik continues the focus on new technologies, moving beyond discussing CGI's function in bringing the ghost to (nonorganic) life to explore the way animation is itself, to an ever greater degree,... more

- by Alla Gadassik
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- Animation, The Body in Film, Digital Media, Digital Cinema

Dopo un lungo periodo di “disimpegno” dai temi politici e di rilevanza sociale che, in linea di massima, ha caratterizzato il cinema italiano tra gli anni ottanta e gli anni novanta assistiamo a un periodo di “rinascita” caratterizzato da un rinnovata necessità di confrontarsi con avvenimenti storici e fatti di attualità molto dibattuti dall’opinione pubblica e non ancora “assimilati” dal corpo sociale. Tra i fautori di questo nuovo fermento che si sta producendo nel cinema italiano contemporaneo vanno annoverati diversi registi tra cui: Marco Bellocchio (Buongiorno, notte del 2003), Nanni Moretti (Il caimano, 2006), Emanuele Crialese (Nuovomondo, 2006), Matteo Garrone (Gomorra, 2008), Paolo Sorrentino (Il Divo, 2008). Sarebbe un errore considerare l’impegno sociale e l’importanza etica di questi film solo sulla base di un realismo tematico (il terrorismo, i fenomeni migratori, il crimine organizzato, la commistione tra criminalità e politica, ecc.) e quindi tralasciando le modalità di rappresentazione e il discorso formale che le singole opere mettono in gioco. Pur condividendo l’interesse di critica e di pubblico che questi film hanno ricevuto, l’obiettivo del presente lavoro è quello di indagare, attraverso gli strumenti della semiotica strutturale, le modalità di costruzione e di rappresentazione del discorso politico concentrandosi su un singolo testo filmico. Il Divo (2008) sfrutta differenti modalità di testualizzazione della storia politica italiana con l’obiettivo di riattivare e rielaborare la memoria di eventi relativi al periodo di travagliata transizione dalla Prima alla seconda Repubblica. Soggetto privilegiato di questa “ricostruzione” è Giulio Andreotti (interpretato da Tony Servillo), uno dei principali protagonisti della storia politica italiana e rappresentante del più grande partito di massa, la Democrazia Cristiana. Per questo motivo, l’analisi si concentrerà sulle strategie di rappresentazione del “corpo del capo” e di spettacolarizzazione delle vicende che lo hanno coinvolto. A livello diegetico, non assistiamo alla pedissequa riproposizione di eventi ed esistenti, né ad una loro ricostruzione con il solo obiettivo di valutare le colpe o smascherare presunti colpevoli. In altre parole, Il Divo costruisce il suo discorso sulla storia politica italiana attraverso una messa in discussione costante dei testi che la hanno precedentemente veicolata o che ne erano parte integrante, in una tensione costante tra documentazione e rilettura di un passato traumatico. È il caso emblematico degli inserti audiovisivi in cui si “dà voce” alle lettere scritte da Aldo Moro durante la sua prigionia ad opera delle Brigate Rosse. Il film ne modifica in parte il contenuto e mostra gli effetti patemici sui soggetti politici a cui queste erano indirizzate. L’analisi si concentrerà inoltre sui modelli figurativi e sulle strategie narrative del monologo/confessione di Andreotti; la sequenza è un vero e proprio metadiscorso in cui emerge come la modalità del potere sia il valore centrale, se non l’unico, nella costruzione del discorso politico.

- by Massimiliano Coviello
- •
- Visual Studies, Art, Film Studies, Photography
- by Selmin Kara
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- Digital Cinema, Mass extinctions, Post-Cinema, Anthropocene

Definición Flujo de trabajo
Pipeline y su representación gráfica.
Ejemplos.

- by Jesús E . Odremán Manrique and +1
- •
- Digital Cinema, Edición, Postproducción, Cine venezolano

In this study, V for Vendetta (2006) directed by James McTeigue, is analysed based on Henry Jenkins’s
transmedia storytelling terms. Henry Jenkins defines re-creating a story with different media tools as
“transmedia storytelling” and evaluates this new storytelling form that emerged in the digital age as a
new aesthetic linked with active participation that creates new demands on the consumer. V for Vendetta
with a large fan audience has a story that became the symbol of the social movements that emerged
against totalitarian regimes created in the modern state and social organisation. The story V for Vendetta
that was first published at the beginning of 1980s as a dystopic comic book prioritising violence and
terror experienced changes in the story with the effect of different narrative media. Within this context,
this study with Henry Jenkins’s transmedia storytelling theoretical basis analyzes how the main narrative elements of the story such as terror, violence, fear, and freedom are reflected in the V for Vendetta
movie by using semiotic methods.

- by Ferhat Zengin and +1
- •
- Violence, Digital Cinema, Transmedial Storytelling, Convergence

¿Qué es un film? Sino un documento animado… un guion, un formato de una obra o una película; una forma escrita que luego ejecuta una acción en el presente, para perpetuar imagines en el futuro digitalizado o simplemente el pasado repetido en el futuro cuantas veces queramos. O no somos capaces los profesores y/o maestros de la historiografía o historia descifrar este acertijo antropológico; sin entrar en restricciones y reglas anal-retentivas de lo que debe ser una reseña historiográfica, perdiendo por completo de perspectiva la utilidad educativa de un documental o film que no necesita complementación bibliográfica. Es esta mecanización de la historia la que queremos ofrecer a nuestros estudiantes o alumnos. Que formas recalcitrantes y de educación bancaria promovemos como educadores al reseñar o criticar documentales o películas con formatos pre hechos y/o predeterminados.

- by Ricardo J Blanco, Ph D
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- European Cinema, Literature and cinema, Historiography, Digital Cinema

Im vorliegenden Aufsatz stehen das Konzept der Empathie und deren Verbindung zur Filmmusik als Bildton und Fremdton im Mittelpunkt. Zum einen wird Empathie, die als Einfühlung auf dargestellte Emotionen (Wut, Trauer etc.) Bezug nimmt, maßgeblich durch Filmmusik als empathischem cue gefördert, und zum anderen ermöglicht Filmmusik erst die so genannte simulative Objektempathie, die ein Empathisieren mit dargestellter Tier- und Objektwelt zulässt. In einer besonders
ausgeprägten Struktur wird die Filmmusik selbst zum autonomen Platzhalter für Objekte oder Figuren und ermöglicht Empathie gänzlich ohne Visualisierung. Um eine einheitliche Reihenfolge der Überlegungen zu gewährleisten, beschäftigen sich die folgenden Absätze zu Beginn mit wichtigen Theorieaspekten, um dann im
weiteren Verlauf die Empathie mit Menschen, mit Tieren und abschließend die simulative Objektempathie zu behandeln.

- by Lars Christian Grabbe and +1
- •
- Semiotics, History, Cultural History, Cultural Studies

Coming to terms with the past and with memory – intended not as the depositories of fetishized histories but as reserves of the vital force needed for the characters' journeys – is one of the most evident motifs throughout Pixar's films. Its storytelling has proved to be one of the most capable in recent years to reinvigorating some of the foundational principles of American history and identity within the contemporary collective imaginary. Pixar's cultural project in fact has always been affected by the need to participate actively in the re-foundation of the American imaginary, in response to the progressive, general anxiety triggered by what many feared to be the fracturing powers of globalization. The Californian company therefore took up the mission of creating a composite and ecumenical cultural system, in which old and new, local and global, national and postnational could find their ideal synthesis.

- by Christian Uva
- •
- Digital Cinema, Digital Animation, Pixar Animation Studios, American Animation
- by Brian McGrath
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- Music, New Media, Architecture, Digital Media
- by Elena Gil Escudier
- •
- Film Studies, Film Theory, Literature and cinema, Film Analysis

The logic of new media corresponds to the postindustrial logic of "production on demand" and "just-in-time" delivery, which themselves were made possible by the use of digital computers and computer networks in all stages of manufacturing and distribution. In this regard, the "culture industry" is actually ahead of the rest of the industry. The idea that a customer determines the exact features of her car at the showroom, the data is transmitted to the factory, and that hours later is delivered the new car remains a dream; but in the case of computer media, it is already a reality. Since the same machine (i.e. a computer) is used as a showroom and a factory, and since the media exist not as a material object but as data that can be sent through the wires at the speed of light, the response is immediate.
This is the new logic of new media, or at least some of its axioms; but how does this logic manifests itself on the level of language? In other words, given the new structure of media on the material level (discrete character on different levels; distributed--that is, network-based--representation), and the new kind of operations we can perform on it (copy and paste, sampling, digital compositing, image processing, and other algorithmic actions), do we create different-looking images? In particular, since filmmakers can now compose feature films entirely on a computer, do they make radically new kinds of films?

- by Lev Manovich
- •
- New Media, Digital Cinema, Digital Culture, Digital Arts
- by Ian Robinson
- •
- Film Studies, European Cinema, Digital Cinema, Media Industries

Moroccan post-colonial cinema has suffered from the lack of adequate channels of domestic and international distribution and exhibition for most of its relatively short history. Despite the existence of a burgeoning distribution business and a wide network of cinemas across the country, distributors were broadly not interested in investing in national films until the 1990s. Up until that point in time, local films were not deemed interesting or lucrative enough in comparison with high-grossing Hollywood and Bollywood movies , which, due to their mass production scale, cost many times less per copy than local productions. However, things began to change in the early 1990s when a lone investor decided to distribute Abdelkader Lagtaâ's H UB FI D AR AL-BEIDA ("A LOVE AFFAIR IN CASABLANCA " 1991). The film was an instant box office hit and, in the process, proved beyond doubt that the distribution and exhibition of national films could make a profit. Distribution has subsequently played a crucial role in the growth of Moroccan cinema in both quantitative and qualitative terms. However, national cinema today faces new distribution and exhibition challenges, in particular the decline of cinema theatres and the emergence of film piracy. The latter is said to have seriously undermined the economic profitability of the legal distribution economy. In this essay, I want to argue against the grain of the pessimism characterizing the dominant discourse about the future of Moroccan cinema in the face of these two challenges. My argument is that film theatre closures and the prevalence of online and offline piracy are not in themselves life-threatening to Moroccan cinema. Instead, they are indicators of how a post-colonial cinema is adapting to the challenges of globalization and the digital revolution. Moroccan films are increasingly watched at home or on mobile devices rather than on big screens in dark rooms. In the same vein, the proliferation of online and CD-based piracy is not proven to have discouraged people from going to the cinemas to watch Moroccan films. The decline of filmgoing culture has other, much deeper social, demographic, and technological causes. The rise of new forms of circulation and consumption of Moroccan cinema in the twenty-first century is a sign of the emergence of novel and dynamic forms of “popular” film distribution and viewership.

- by Jamal Bahmad
- •
- Film Studies, Film Theory, Digital Media, Moroccan Studies
- by Christian Uva
- •
- Film Studies, Animation Theory, Computer Animation, Digital Cinema