Cinema in the Digital Age
(eBook)

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Published
Columbia University Press, 2017.
Format
eBook
Status
Available Online

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Language
English
ISBN
9780231851183

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Citations

APA Citation, 7th Edition (style guide)

Nicholas Rombes., & Nicholas Rombes|AUTHOR. (2017). Cinema in the Digital Age . Columbia University Press.

Chicago / Turabian - Author Date Citation, 17th Edition (style guide)

Nicholas Rombes and Nicholas Rombes|AUTHOR. 2017. Cinema in the Digital Age. Columbia University Press.

Chicago / Turabian - Humanities (Notes and Bibliography) Citation, 17th Edition (style guide)

Nicholas Rombes and Nicholas Rombes|AUTHOR. Cinema in the Digital Age Columbia University Press, 2017.

MLA Citation, 9th Edition (style guide)

Nicholas Rombes, and Nicholas Rombes|AUTHOR. Cinema in the Digital Age Columbia University Press, 2017.

Note! Citations contain only title, author, edition, publisher, and year published. Citations should be used as a guideline and should be double checked for accuracy. Citation formats are based on standards as of August 2021.

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Grouped Work ID3a70b0ff-1263-4c33-8162-4b42342fc968-eng
Full titlecinema in the digital age
Authorrombes nicholas
Grouping Categorybook
Last Update2022-10-18 20:50:33PM
Last Indexed2024-03-29 02:47:35AM

Book Cover Information

Image Sourcehoopla
First LoadedOct 27, 2021
Last UsedOct 27, 2021

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    [synopsis] => Have digital technologies transformed cinema into a new art, or do they simply replicate and mimic analogue, film-based cinema? Newly revised and expanded to take the latest developments into account, Cinema in the Digital Age examines the fate of cinema in the wake of the digital revolution. Nicholas Rombes considers Festen (1998), The Blair Witch Project (1999), Timecode (2000), Russian Ark (2002), and The Ring (2002), among others. Haunted by their analogue pasts, these films are interested not in digital purity but rather in imperfection and mistakes-blurry or pixilated images, shaky camera work, and other elements that remind viewers of the human behind the camera. With a new introduction and new material, this updated edition takes a fresh look at the historical and contemporary state of digital cinema. It pays special attention to the ways in which nostalgia for the look and feel of analogue disrupts the aesthetics of the digital image, as well as how recent films such as The Social Network (2010) and The Girl with the Dragon Tattoo (2011)-both shot digitally-have disguised and erased their digital foundations. The book also explores new possibilities for writing about and theorizing film, such as randomization.
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