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.

Thirty-Three and a Third is a series of short books about critically acclaimed and much-loved albums of the past 40 years. Over 50,000 copies have been sold! Nicholas Rombes is an English professor at the University of Detroit Mercy, where he teaches and writes about film, music, and pop culture. His writing has appeared in a range of journals and magazines, including Exquisite Corpse (edited by Andrei Codrescu) and McSweeney?s. He is also the editor of the forthcoming book Post-Punk Cinema.

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.

YOUR LIFE IS A MOVIE contains some of the most provocative thinking about media, film and culture you're likely to encounter anytime soon. Drawn from scholars, political pundits, filmmakers and film critics-ranging from the famous to the relatively obscure-this anthology of interviews and essays covers a wide range of topics and issues, and is a must-read for anyone concerned about the direction of film and media in modern culture. Thought-provoking and often controversial, this is the kind of book that can change your view of the world. YOUR LIFE IS A MOVIE is a compilation of essays and interviews from SolPix-the film and media webzine published by the WebDelSol (www.webdelsol.com) media complex. Contributors: Eric Alterman, Ray Carney, Patricia Ducey, Timothy Dugdale, Shelley Friedman, Todd Gitlin, T. B. Meek, Kayoko Mitsumatsu, Michael Neff, Rob Nilsson, Nicholas Rombes, Mike Shen and Don Thompson. Editors: Don Thompson and Nicholas Rombes

Neither a dry-as-dust reference volume recycling the same dull facts nor a gushy, gossipy puff piece, "A Cultural Dictionary of Punk: 1974-1982" is a bold book that examines punk as a movement that is best understood by placing it in its cultural field. It contains myriad critical-listening descriptions of the sounds of the time, but also places those sounds in the context of history. Drawing on hundreds of fanzines, magazines, and newspapers, the book is--in the spirit of punk--an obsessive, exhaustively researched, and sometimes deeply personal portrait of the many ways in which punk was an artistic, cultural, and political expression of defiance.
"
A Cultural Dictionary of Punk" is organized around scores of distinct entries, on everything from Lester Bangs to The Slits, from Jimmy Carter to Minimalism, from 'Dot Dash' to Bad Brains. Both highly informative and thrillingly idiosyncratic, the book takes a fresh look at how the malaise of the 1970s offered fertile ground for punk--as well as the new wave, post-punk, and hardcore--to emerge as a rejection of the easy platitudes of the dying counter-culture. The organization is accessible and entertaining: short bursts of meaning, in tune with the beat of punk itself.
Rombes upends notions that the story of punk can be told in a chronological, linear fashion. Meant to be read straight through or opened up and experienced at random, "A Cultural Dictionary of Punk" covers not only many of the well-known, now-legendary punk bands, but the obscure, forgotten ones as well. Along the way, punk's secret codes are unraveled and a critical time in history is framed and exclaimed.
Visit the "Cultural Dictionaryof Punk" blog here.