The Orientation of Future Cinema: Technology, Aesthetics, Spectacle

15Citations
Citations of this article
18Readers
Mendeley users who have this article in their library.

Abstract

What is the fate of cinema in an age of new technologies, new aesthetic styles, new modes of cultural production and consumption? What becomes of cinema and a century-long history of the moving image when the theatre is outmoded as a social and aesthetic space, as celluloid gives over to digital technology, as the art-house and multiplex are overtaken by a proliferation of home entertainment systems? The Orientation of Future Cinema offers an ambitious and compelling argument for the continued life of cinema as image, narrative and experience. Commencing with Lumière's Arrival of a Train at a Station, Bruce Isaacs confronts the threat of contemporary digital technologies and processes by returning to cinema's complex history as a technological and industrial phenomenon. The technology of moving images has profoundly changed; and yet cinema materialises ever more forcefully in digital capture and augmentation, 3-D perception and affect, High Frame Rate cinema, and the evolution of spectacle as the dominant aesthetic mode in contemporary studio production.

Cite

CITATION STYLE

APA

Isaacs, B. (2013). The Orientation of Future Cinema: Technology, Aesthetics, Spectacle. The Orientation of Future Cinema: Technology, Aesthetics, Spectacle (pp. 1–301). Bloomsbury Publishing Plc. https://doi.org/10.5195/cinej.2017.194

Register to see more suggestions

Mendeley helps you to discover research relevant for your work.

Already have an account?

Save time finding and organizing research with Mendeley

Sign up for free