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.
- Table of Contents
- Acknowledgments
- Preface to the Revised Edition
- Preface
- 1. Accelerationism
- 2. The Adorno Paradox
- 3. Against Method
- 4. Analog/Digital Splice
- 5. Blood, Simple
- 6. Boredom and Analog Nostalgia
- 7. The Digital Spectacular
- 8. Disposable Aesthetics
- 9. DV Humanism
- 10. Filmless Films
- 11. Frame Dragging
- 12. The Ideology of the Long Take
- 13. Image/Text
- 14. Incompleteness
- 15. Interfaces
- 16. iPod Experiment
- 17. Ironic Mode
- 18. Looking at Yourself Looking
- 19. The Lost Underground
- 20. Love in the Time of Fragments
- 21. Media as Its Own Theory
- 22. Mobile Viewing
- 23. Moving Space in the Frame, and a Note on Film Theory
- 24. Natural Time
- 25. Nonlinear
- 26. Paranormal Activity 2
- 27. Pausing
- 28. Punk
- 29. Realism
- 30. Real Time
- 31. The Real You
- 32. The Reality Industrial Complex
- 33. Remainders
- 34. Sampling
- 35. Secondary Becomes Primary
- 36. Self-Deconstructing Narratives
- 37. Shaky Camera
- 38. Shoot!
- 39. Simultaneous Cinema
- 40. Small Screens
- 41. Target Video
- 42. Time, Memory
- 43. Time-Shifting
- 44. Timesis: Skimming and Skipping
- 45. Undirected Films
- 46. Viewer Participation
- 47. Virtual Humanism: Part 1
- 48. Virtual Humanism: Part 2
- 49. Visible Language, Spring 1977
- 50. Interpreting Film Images Through Randomized Constraint: The Blue Velvet Project
- Filmography
- Bibliography
Text
Audio
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