Cinema in the Digital Age

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Columbia University Press, Aug 7, 2012 - Performing Arts - 224 pages
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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.
 

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Contents

Introduction
1
The Adorno Paradox
13
Against Method
14
AnalogueDigital Splice
16
Boredom and Analogue Nostalgia
19
The Digital Spectacular
21
Disposable Aesthetics
23
DV Humanism
25
Realism
81
Real Time
84
The Real You
88
Remainders
90
Sampling
97
Secondary Becomes Primary
99
Selfdeconstructing Narratives
101
Shaky Camera
105

Filmless Films
31
Frame Dragging
34
The Ideology of the Long Take
38
ImageText
41
Incompleteness
43
Interfaces
45
iPod Experiment
49
Ironic Mode
51
Avatar As Spectator
55
Media As Its Own Theory
59
Mobile Viewing
65
Moving Space In The Frame And A Note On Film Theory
67
Natural Time
69
Nonlinear
73
Pausing
75
Punk
79
Shoot Si Gira
107
Simultaneous Cinema
109
Small Screens
120
Target Video
122
Time Memory
124
TimeShifting
126
Skimming and Skipping
130
Undirected Films
132
Viewer Participation
140
Part 1
142
Part 2
148
Visible Language Spring 1977
154
Filmography
157
Bibliography
161
Copyright

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About the author (2012)

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.

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