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This book approaches the topic of the state of post-cinema from a
new direction. The authors explore how film has left the cinema as
a fixed site and institution and now appears ubiquitous - in the
museum and on the street, on planes and cars and new digital
communication platforms of various kinds. The authors investigate
how film has become more than cinema, no longer a medium that is
based on the photochemical recording and replay of movement. Most
often, the state of post-cinema is conceptualized from the "high
end" of the most advanced technology; discussions focus on
performance capture and digital 3-D, 4-K projection and industrial
light & magic. Here, the authors' approach is focused on the
"low-end" circulation of filmic images. This includes informal
networks of exchange and transaction, such as p2p-networks, video
platforms and so called "piracy" with a special focus on the Middle
East and North Africa, where political and social transformations
make new forms of circulation and presentation particularly
visible.
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