Some Recent European Initiatives in Digital Film Production, Distribution and Exhibition European Digital Cinema Forum (EDCF) by John Graham 107

2013 ◽  
pp. 115-139
Keyword(s):  
Film Production ◽  
Digital Cinema ◽  
Production Distribution ◽  
Digital Film

From Film Practice to Data Process

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Industry ◽  
Film Production ◽  
Profound Change ◽  
Data Process ◽  
Production Practices ◽  
Digital Film ◽  
Contemporary Britain

From Film Practice to Data Process critically examines the practices of independent digital feature filmmaking in contemporary Britain. The business of conventional feature filmmaking is like no other, in that it assembles a huge company of people from a range of disciplines on a temporary basis, all to engage in the collaborative endeavour of producing a unique, one-off piece of work. The book explicitly interrogates what is happening at the frontiers of contemporary ‘digital film’ production at a key transitional moment in 2012, when both the film industry and film-production practices were situated between the two distinct medium polarities of film and digital. With an in-depth case study of Sally Potter’s 2012 film Ginger & Rosa, drawing upon interviews with international film industry practitioners, From Film Practice to Data Process is an examination of film production in its totality, in a moment of profound change.

Assembly Codes

2021 ◽  
Author(s):  
John Durham Peters
Keyword(s):  
Environmental Impact ◽  
The Other ◽  
Film Production ◽  
Media Technologies ◽  
Internet Infrastructure ◽  
Production Distribution ◽  
The Creation ◽  
Vinyl Records

The contributors to Assembly Codes examine how media and logistics set the conditions for the circulation of information and culture. They document how logistics—the techniques of organizing and coordinating the movement of materials, bodies, and information—has substantially impacted the production, distribution, and consumption of media. At the same time, physical media, such as paperwork, along with media technologies ranging from phone systems to software are central to the operations of logistics. The contributors interrogate topics ranging from the logistics of film production and the construction of internet infrastructure to the environmental impact of the creation, distribution, and sale of vinyl records. They also reveal how logistical technologies have generated new aesthetic and performative practices. In charting the specific points of contact, dependence, and friction between media and logistics, Assembly Codes demonstrates that media and logistics are co-constitutive and that one cannot be understood apart from the other. Contributors Ebony Coletu, Kay Dickinson, Stefano Harney, Matthew Hockenberry, Tung-Hui Hu, Shannon Mattern, Fred Moten, Michael Palm, Ned Rossiter, Nicole Starosielski, Liam Cole Young, Susan Zieger

Digital Film Production Preservation and Access

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
Film Production ◽  
Data Complexity ◽  
Archival Studies ◽  
Digital Film ◽  
Access Project ◽  
The Moment ◽  
The Way

This chapter examines digital film production preservation and access in the moment of the ‘Digital Dilemma’and the attendant challenges to the archiving of digital film which are summarised as reliability, vulnerability, volume and data complexity. Different archival paradigms are considered including film, born digital and hybrid, and the associated archival aesthetics, drawing from various branches of enquiry within archival studies. This includes considerations of Sally Potter’s own online, interactive archive SP-ARK – whereby all film/analogue was digitised – and the archival structure developed by the Deep Film Access Project (DFAP) – designed to accommodate both film, data and hybrid assets. The chapter contends that archival structures support and replicate auteurism leading to omissions and occlusions of both personnel and practices. Evidence is provided to demonstrate that the way in which an archive is conceived, shaped and organised captures the various ‘aesthetics of production’ and ‘Production Aesthetics’ of a moment in time, as well as its concomitant ‘production legacy aesthetics’, ‘archival legacy aesthetics’ and embedded paradoxes of representation.

Digital Film Production Time

2018 ◽  
Author(s):  
Sarah Atkinson
Keyword(s):  
New Technologies ◽  
Film Structure ◽  
Production Model ◽  
Film Production ◽  
Production Time ◽  
Study Materials ◽  
Production Practice ◽  
Digital Film ◽  
Digital Processes

This chapter explores the notion of digital film production ‘time’ By examining the various different temporalities of film production. Drawing primarily upon the case-study materials of Ginger & Rosa, the chapter maps the 2012 moment of transition from working with film to working with data, and the hybrid practices and protocols that manifested as a result. It examines how the introduction of new technologies and digital processes challenged the orthodoxies of long-established film industry production practice including how workflow patterns were effected with the advent of the digital in film production. The chapter includes the proposition of a ‘Creative Core’ Structure of Production model with which to understand the determinants and impacts of on-set workflow, illuminating the emergence a specific aesthetic of production which is referred to as ‘workflow-warp’ and ‘workflow-weft.’ The former refers to the temporal bending of the traditional film structure and pace out of shape, and the latter – the process of weaving together a complex blend of the film and the digital into an inextricable tapestry.

Conclusion

2017 ◽  
Author(s):  
Leslie L. Marsh
Keyword(s):  
Social Inequality ◽  
Social Exclusion ◽  
Female Sexuality ◽  
Film Production ◽  
Women Directors ◽  
The Past ◽  
Moving Images ◽  
Production Distribution ◽  
Race Ethnicity ◽  
Women's Film

This concluding chapter argues that Brazilian women's film practice retains an impulse to use moving images as a way to denounce social inequality and fight for justice. Indeed, throughout the 1990s and in recent years, one finds an increasingly intersectional approach whereby gender, and female sexuality have been studied in conjunction with age, class, race, ethnicity, and other markers of power and social exclusion. Moreover, the sociopolitical issues raised by women directors from the past find echo in current debates surrounding Brazilian women's filmmaking. As the area of Brazilian women's filmmaking receives increasing attention from academics, analysis of women's filmmaking in Brazil needs to further examine funding strategies women employ to make their films while also expanding its focus to include other arenas in film production, distribution, and exhibition in which women have been involved.

scholarly journals MENERAWANG MASA LALU DI ERA DIGITAL: FILM SEJARAH VIS A VIS HISTORIOGRAFI

2019 ◽  
Vol 3 (1) ◽  
pp. 33
Author(s):  
Luqman Abdul Hakim
Keyword(s):  
Film Studies ◽  
Film Production ◽  
Historical Sources ◽  
Reform Era ◽  
The Past ◽  
Historical Film ◽  
Historical Films ◽  
Research Problems ◽  
The Times ◽  
Digital Film

In recent years historical film production or historical films — Historical Film, Historical Movie, Historical Cinema—have become increasingly massive in Indonesia. In its development, historical films in Indonesia are a massive medium to present a past that deserves to be remembered as a collective memory of society. Since the reform era, dozens of historical film titles have been produced and colouring the Indonesian film industry. As a result, many historical films have become references and reference sources for the community to find information about the past. It becomes reasonable to see the development of multimedia-based information technology (audiovisual) which has encouraged the emergence of post-literacy phenomena. In historical studies, historical films can be studied as a thematic study as well as in a methodological realm. As a thematic study, historical films are mental products (mentifact) and social products (sociofact) of society in a certain space of time. Whereas in the methodological realm, historical films can be explored through debates about historical sources or as narratives and representations of the past presented through film media. The study of historical films as a study of history is still a rare and less desirable subject for historians in Indonesia. This paper utilizes literature studies to answer some of the research problems posed. Literature studies of sources related to historical film studies are the focus of the researchers. In addition, a deeper understanding of the development of historical films in Indonesia is also a concern to uncover the souls of the times that surround historical film production. This study concludes that the existence of historical films in the present is a challenge for historians to face the era of openness and variety of media that presents information about the past.

scholarly journals Slow Train Coming? The Transition to Digital Distribution and Exhibition in Cinema

2004 ◽  
Vol 110 (1) ◽  
pp. 105-119 ◽  
Author(s):  
Scott McQuire
Keyword(s):  
United States ◽  
Production Process ◽  
Digital Technology ◽  
The United States ◽  
Film Production ◽  
Special Effects ◽  
Digital Cinema ◽  
End To End ◽  
Key Industry

Throughout the 1990s, digital technology entered film production and rapidly altered both the production process and the audience's experience, as complex soundscapes and special effects became the hallmark of cinematic blockbusters. By 1999, the prospect of an end-to-end digital cinema, or cinema without celluloid, seemed to be in sight. Digital distribution and exhibition were extolled as particularly attractive prospects, and a number of test sites were established in the United States. However, the last four years have demonstrated that significant issues need to be resolved before there will be broader implementation of digital cinema. Working from a series of interviews with key industry practitioners in Australia and the United States, this article examines the struggles currently affecting the rollout of digital cinema, and assesses the likely impact on Australian exhibition practices.

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