Cinematic media in digital culture

2019 ◽  
Vol 11 (1) ◽  
pp. 8-14
Author(s):  
Gennady P. Bakulev
Keyword(s):  
Digital Technology ◽  
Film Industry ◽  
Film Theory ◽  
Film History ◽  
Digital Culture ◽  
Technological Changes ◽  
Technical Developments ◽  
Experimental Media ◽  
Expanded Cinema ◽  
Principal Task

Periods of important technological changes greatly influence film theory, as new films usually raise the key question: what is actually a film? This problem has been discussed by film theorists over many decades. Todays film industry, in which digital technology is being successfully integrated in the traditional narrative media and combined with the established visual paradigms, clearly demonstrates how classical artistic approaches can go along with new technical developments. Contemporary documentary cinema is a vivid example of the ways in which digital technology can expand and deepen the area of cinematic media. Basing themselves mostly on traditional formats, media makers create products which could be rightfully considered as new genres. By restructuring cinemas borders film scholars widen the scope of their studies. One of the ideas attracting their attention is that of expanded cinema. This concept, suggested by Gene Youngblood, is usually related to experimental media, in which the perceptive context is the key aspect of artistic creativity. The principal task of film researchers has been to follow the continually changing horizons of cinema in the context of film history. New schemes of development often create new problems which can be solved only by means of new critical tools.

scholarly journals Dr Dario Llinares in Conversation with Dr Sarah Atkinson

2015 ◽  
Vol 8 (5) ◽  
Author(s):  
Dario Llinares ◽  
Sarah Atkinson
Keyword(s):  
Digital Technology ◽  
Film Theory ◽  
Film Criticism ◽  
Film Production ◽  
The Core ◽  
Expanded Cinema ◽  
Mobile Cinema ◽  
Recent Monograph ◽  
Historical Antecedents ◽  
Networked Society

Dr Dario Llinares interviews Dr Sarah Atkinson about the core themes addressed in her recent monograph Beyond the Screen: Emerging Cinema and Engaging Audiences (Bloomsbury, 2014). The conversation explores the context for new conceptualisations of cinema, which encompass and reflect the myriad ways film can be experienced beyond the auditorium in a digitally networked society. They also explore the historical antecedents for embodied cinema, discuss examples of expanded, extended and mobile film spectatorship, and postulate as to the effect of these transformations for film production, criticism and scholarship.     KEYWORDS Expanded Cinema; Film Criticism; Film Theory; Digital Technology; Mobile Cinema; Spectatorship

A Dictionary of Film Studies

2020 ◽  
Author(s):  
Annette Kuhn ◽  
Guy Westwell
Keyword(s):  
Computer Games ◽  
Film Studies ◽  
Film Industry ◽  
Film Theory ◽  
Film History ◽  
Undergraduate Level ◽  
Theory And Criticism ◽  
Technical Terms ◽  
Transnational Cinemas

Over 550 entries This dictionary covers all aspects of its discipline as it is currently taught at undergraduate level. Offering exhaustive and authoritative coverage, this A-Z is written by experts in the field and covers terms, concepts, debates, and movements in film theory and criticism; national, international, and transnational cinemas; film history, movements, and genres; film industry organizations and practices; and key technical terms and concepts. Since its first publication in 2012, the dictionary has been updated to incorporate over 40 new entries, including computer games and film, disability, ecocinema, identity, portmanteau film, Practice as Research, and film in Vietnam. Moreover, numerous revisions have been made to existing entries to account for developments in the discipline, and changes to film institutions more generally.

scholarly journals Cinema as dispositif: Between Cinema and Contemporary Art

2009 ◽  
Vol 19 (1) ◽  
pp. 37-55 ◽  
Author(s):  
André Parente ◽  
Victa de Carvalho
Keyword(s):  
New Media ◽  
Contemporary Art ◽  
Film Theory ◽  
Film History ◽  
Technological Production ◽  
Image Projection ◽  
Expanded Cinema ◽  
The Media ◽  
Transmission And Distribution

Abstract Recent upheavals in the media landscape raise two major issues. First, how is new media changing the cinematographic dispositif1 in its primordial dimensions: architectural (the conditions for image projection), technological (production, transmission and distribution) and discursive (cutting, editing, etc.)? How does experimentation in the field create new shifts or deviations with respect to the institutional mode of representation? Unlike the dominant cinema, some films reshape cinema’s dispositif by multiplying screens, exploring other durations and intensities, changing the architecture of the screening room or entering into other relations with spectators. In fact, cinema’s dispositif underwent variations such as these during three particular moments of film history, as we will discuss here: the cinema of attractions, expanded cinema and cinema of exhibition,2 whose differences will be analyzed through the notion of dispositif. While technological transformations are obvious in each of these moments, they also call attention to a series of experimentations with cinema’s dispositif which have been largely overlooked by film history. Not only do these deviations from a so-called institutional mode of representation produce new and heterogeneous subjectivities, they also have a decisive impact on recent film theory.

Cinema Expanded

2020 ◽  
Author(s):  
Jonathan Walley
Keyword(s):  
New Media ◽  
Film History ◽  
Video Art ◽  
Experimental Film ◽  
Art World ◽  
Film Culture ◽  
Moving Image ◽  
Avant Garde ◽  
Expanded Cinema ◽  
History Of

Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

Conclusion

2020 ◽  
pp. 698-719
Author(s):  
Ronald E. Rice ◽  
Simeon J. Yates ◽  
Jordana Blejmar
Keyword(s):  
Digital Technology ◽  
Digital Literacy ◽  
Theory Development ◽  
Policy Implications ◽  
Digital Culture ◽  
Future Research ◽  
Technology And Society ◽  
Ongoing Research ◽  
Positive Effects ◽  
Research Areas

We conclude the Handbook of Digital Technology and Society by identifying topics that appear in multiple chapters, are more unique to some chapters, and that represent general themes across the material. Each of these is considered separately for the ESRC theme chapters and the non-ESRC chapters. In the ESRC theme chapters, cross-cutting research topics include digital divides and inequalities; data and digital literacy; governance, regulation, and legislation; and the roles and impacts of major platforms. Cross-cutting challenges include methods; theory development, testing, and evaluation; ethics; big data; and multi-platform/holistic studies. Gaps include policy implications, and digital culture. In the non-ESRC chapters, more cross-cutting themes include future research and methods; technology venues; relationships; content and creation; culture and everyday life; theory; and societal effects. More unique, these were digitization of self; managing digital experience; names for the digital/social era; ethics; user groups; civic issues; health, and positive effects. The chapter also shows how the non-ESRC chapters may be clustered together based on their shared themes and subthemes, identifying two general themes of more micro and more macro topics. The identification of both more and less common topics and themes can provide the basis for understanding the landscape of prior research, what areas need to be included in ongoing research, and what research areas might benefit from more attention. The chapter ends with some recommendations for such ongoing and future research in the rich, important, and challenging area of digital technology and society.

Post-digital prosumption and the sharing economy of space: The pay-per-minute cafe

2021 ◽  
pp. 146954052110220
Author(s):  
Alexandra Kviat
Keyword(s):  
Consumer Culture ◽  
Digital Technology ◽  
Sharing Economy ◽  
Digital Culture ◽  
Cultural Impact ◽  
Pricing Policy ◽  
Digital Platforms ◽  
Brick And Mortar ◽  
Physical Spaces

Although prosumption and the sharing economy are currently at the cutting edge of consumer culture research, little attempt has been made to explore the theoretical relationship between these concepts and approach them with a pluralistic, dynamic, nuanced and ethnographically informed lens moving beyond the dichotomies of capitalism versus anti-capitalism, rhetoric versus reality, exploitation versus empowerment and traditional versus digital consumer culture. This article addresses these gaps by focusing on the phenomenon of pay-per-minute cafes – physical spaces inspired by digital culture and meant to apply its principles in the brick-and-mortar servicescape. Drawing on a multi-site, multi-method case study of the world’s first pay-per-minute cafe franchise, the article shows a multitude of ways in which prosumption and the sharing economy, both shaped by different configurations of organisational culture, physical design, food offer and pricing policy, are conceived, interpreted and experienced by the firms and customers across the franchise and argues that conflicts and contradictions arising from this diversity cannot be reduced to the narrative of consumer exploitation. Finally, while both prosumption and the sharing economy are typically defined by the use of digital platforms, this article makes a case for a post-digital approach to consumer culture research, looking into the cultural impact of digital technology on traditional servicescapes.

scholarly journals ¿Es el cine japonés un cine nacional?

STUDIUM ◽  
2018 ◽  
pp. 245-272
Author(s):  
Marcos Centeno Martín
Keyword(s):  
Film Theory ◽  
Film History ◽  
The Other ◽  
Cultural Tradition ◽  
National Cinema ◽  
The West ◽  
Japanese Cinema ◽  
Palabras Clave ◽  
The One ◽  
Film Language

Resumen La construcción del cine japonés como cine nacional ha partido a menudo de una visión esencialista que ha ignorado la dimensión transnacional de esta filmografía. Por un lado, el descubrimiento occidental de ciertos autores japoneses en los años cincuenta condujo a la articulación del paradigma del cine nacional japonés a partir de películas dirigidas a asombrar al público europeo con imágenes exóticas de Japón. Los grandes maestros, Kurosawa, Mizoguchi y Ozu fueron escogidos como representantes de una supuesta japonesidad cinematográfica ignorando el peso de Occidente en sus obras. Por otro lado, el estudio de este corpus tradicionalmente ha evolucionado con herramientas teóricas desarrolladas en Occidente y necesita renovarse con conceptos de la tradición cultural, estética y filosófica propia. Pero además, es necesario evaluar cómo se implementaron los elementos del lenguaje fílmico en Japón para entender su relativismo respecto a la historia general del cine. Sus usos y formas no siempre han coincidido con los desarrollos occidentales, de forma que conceptos fílmicos occidentales no han tenido exactamente el mismo significado en el contexto japonés. Palabras clave: cine japonés, cine nacional, transnacionalidad teoría fílmica, cine de postguerra   Abstract The construction of Japanese cinema as a national cinema has often drawn on a essentialist vision neglecting the transnational nature of this filmography. On the one hand, the Western discovery of certain Japanese authors in the fifties triggered the articulation of the paradigm of the Japanese “national cinema” from films aiming to astonish European audiences with exotic images of Japan. The great masters, Kurosawa, Mizoguchi and Ozu, were chosen as main representatives of the apparent cinematographic japaneseness neglecting the weight of the West on their works. On the other hand, the study of this corpus has been traditionally evolved with theoretical tools developed in the West and need a renewal with concepts taken from Japanese philosophical, aesthetic and cultural tradition. Moreover, it is necessary to assess how the film language elements were implemented in Japan in order to understand its relativism regarding the general film history. Their usages and forms were not always equivalent to those in the West and as a consequence, Western concepts ended up having different meanings in the Japanese context. Key words: Japanese cinema, national cinema, transnationality, film theory, postwar cinema

Games-Based Culture

Sport 2.0 ◽  
2017 ◽  
Author(s):  
Andy Miah
Keyword(s):  
Digital Technology ◽  
Social Function ◽  
Digital Culture ◽  
Digital Space ◽  
Sports Culture ◽  
System P ◽  
Olympic Movement ◽  
The Future ◽  
Media Change ◽  
Different Cultures

This chapter considers the different cultures of sport, digital technology, and the Olympics. It examines why the idea of a global digital culture fails to capture the manner in which our lives are organized in digital space. It also discusses how sports cultures have begun to change and, in particular, become subservient to media change, and what this will mean for how various systems of governance develop their approach to culture. This leads to questioning what it is that makes sports experiences distinct and meaningful—in short, their social function and value—a theme that is taken up later in the book. This chapter also explores the societal justification for sports, so as to understand how digital technology challenges or responds to these interests. Finally, through analyzing Olympic culture, as the most prominent example of an ideology-driven sports-related organization, the chapter considers how the Olympic movement has become a central driver in shaping the values of sports culture and business and what it will need to do in the future to retain this place in the sports system.

Universal language, local accent: Music and song in the early talking film

2019 ◽  
pp. 111-132 ◽  
Author(s):  
Geoff Brown
Keyword(s):  
Case Studies ◽  
Film Industry ◽  
Early American ◽  
Technical Developments ◽  
Universal Language ◽  
World Power ◽  
German Producer ◽  
Musical Styles

With dialogue in early talkies complicating international product exchange, the film industry cherished the notion of music as a ‘universal language’. But this music required degrees of translation, both in the literal textual sense and in the matter of adapting ‘foreign’ customs, cultural and social, and musical styles. This chapter explores the issues principally through case studies of five key singing stars of early American and European sound films: Al Jolson, Maurice Chevalier, Carlos Gardel, Marlene Dietrich, and Richard Tauber. German producer Erich Pommer’s goal of combining universal appeal and nationalistic attractions, most evident in the multilingual Congress Dances, is also explored. After the mid-1930s, film music’s universal language significantly changed in response to technical developments, Hollywood’s solidified world power, and its development of a pervasive orchestral soundtrack style partly shaped by exiled European composers. European elements and local accents remained, but were now subsumed in a global American product.

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