Is a film watched on a video screen still cinema? Have digital compositing, motion capture, and other advanced technologies remade or obliterated the craft? Rooted in their hypothesis of the "double birth of media," André Gaudreault and Philippe Marion take a positive look at cinema's ongoing digital revolution and reaffirm its central place in a rapidly expanding media landscape.
The authors begin with an overview of the extreme positions held by opposing camps in the debate over cinema: the "digitalphobes" who lament the implosion of cinema and the "digitalphiles" who celebrate its new, vital incarnation. Throughout, they remind readers that cinema has never been a static medium but a series of processes and transformations powering a dynamic art. From their perspective, the digital revolution is the eighth major crisis in the history of motion pictures, with more disruptions to come. Brokering a peace among all sides, Gaudreault and Marion emphasize the cultural practice of cinema over rigid claims on its identity, moving toward a common conception of cinema to better understand where it is headed next.
具體描述
讀後感
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用戶評價
a discursive history of cinema as a medium
评分a discursive history of cinema as a medium
评分綜述部分詳細，不過為什麼要爭奪敘事藝術的媒介霸權？為什麼要糾纏媒介身份是不是特效？復雜化瞭機械再造的概念，全球的修復專傢都不能從感官上區分數字與膠片的影像。第四章有趣，講瞭拍攝(filming)與錄製(recording)的區彆，歸結到德國哲學中的揚棄(Aufhebung)。“媒介的兩次誕生”，一次建構(constitute)，另一次體製(institute)。
评分這個把話語整理得好清楚，感覺都可以當工具書用。
评分a discursive history of cinema as a medium
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