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Books > Business & Economics > Industry & industrial studies > Media, information & communication industries > Cinema industry
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Cinema Futures - Cain, Abel or Cable? - Screen Arts in the Digital Age (Hardcover)
Loot Price: R790
Discovery Miles 7 900
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Cinema Futures - Cain, Abel or Cable? - Screen Arts in the Digital Age (Hardcover)
Series: Film Culture in Transition
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In the late 1960s, the cinema was pronounced dead. Television, like
a Biblical Cain had slain his brother Abel, bewitching the mass
audience and provoking an exodus - from the cinemas to the living
room. Some 30 years later, a remarkable reversal: rarely has the
cinema been more popular, as inner-city multiplexes record rising
attendances. And yet, rarely has the cinema's future seemed more
uncertain. 70-80 per cent of all films shown on commercial screens
come from Hollywood, launched with publicity campaigns costing more
than the total budget of most European films. Television, the
independent cinema's chief financier for the past decades, cannot
match these investments, not can it compete, even if it wanted to,
with the barrage of special effects. The New Media, virtual images,
the relentless digitization of reality, it is argued, are
responsible for the global concentration of production, which in
turn leads to the global uniformity of the products. Just as Cain
and Abel are about to bury their differences, then along comes
Cable to resolve them both into mere myriads of pixels. Beyond the
hyperbole and the metaphors, "Cinema Futures: Cain, Abel or Cable?"
presents an argument about predictions that tend to be made when
new technologies appear. Television did not swallow radio, just as
it did not replace the cinema. Yet each new technological medium
has certainly changed the place of the others in society and
affected their function. What do these precedents tell us about the
future of the cinema in the digital age, or rather for the future
of the "experience cinema", as it redefines itself in the home and
in public? The authors of this book are realistic in their estimate
of the future of cinema's distinctive identity, and optimistic that
the different social needs audiences bring to the media will ensure
their distinctiveness. The book also contains case studies, and
should be useful to anyone interested in a better understanding of
the changes facing the worlds of sound and vision.
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