Compact Cinematics challenges the dominant understanding of cinema
to focus on the various compact, short, miniature, pocket-sized
forms of cinematics that have existed from even before its
standardization in theatrical form, and in recent years have
multiplied and proliferated, taking up an increasingly important
part of our everyday multimedia environment. Short films or
micro-narratives, cinematic pieces or units re-assembled into image
archives and looping themes, challenge the concepts that have
traditionally been used to understand cinematic experience, like
linear causality, sequentiality, and closure, and call attention to
complex and modular forms of cinematic expression and perception.
Such forms, in turn, seem to meet the requirements of digital
convergence, which has pushed the development of more compact and
mobile hardware for the display and use of audiovisual content on
laptops, smartphones, and tablets. Meanwhile, contemporary
economies of digital content acquisition, filing, and sharing
equally require the shrinking of cinematic content for it to be
recorded, played, projected, distributed, and installed with ease
and speed. In this process, cinematic experience is shortened and
condensed as well, so as to fit the late-capitalist attention
economy. The essays in this volume ask what this changed technical,
socio-economic and political situation entails for the aesthetics
and experience of contemporary cinematics, and call attention to
different concepts, theories and tools at our disposal to analyze
these changes.
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