The End of Cinema?

出版者:Columbia University Press

作者:André Gaudreault

页数:0

译者:Timothy Barnard

出版时间:2015

价格:0

isbn号码:9780231173575

图书标签:电影Cinema英文电影媒介理论文化媒介MediaStudies

Is a film watched on a video screen still cinema? Have digital compositing, motion capture, and other advanced technologies remade or obliterated the craft? Rooted in their hypothesis of the "double birth of media," André Gaudreault and Philippe Marion take a positive look at cinema's ongoing digital revolution and reaffirm its central place in a rapidly expanding media landscape.

The authors begin with an overview of the extreme positions held by opposing camps in the debate over cinema: the "digitalphobes" who lament the implosion of cinema and the "digitalphiles" who celebrate its new, vital incarnation. Throughout, they remind readers that cinema has never been a static medium but a series of processes and transformations powering a dynamic art. From their perspective, the digital revolution is the eighth major crisis in the history of motion pictures, with more disruptions to come. Brokering a peace among all sides, Gaudreault and Marion emphasize the cultural practice of cinema over rigid claims on its identity, moving toward a common conception of cinema to better understand where it is headed next.

用户评价

a discursive history of cinema as a medium

这个把话语整理得好清楚，感觉都可以当工具书用。

这个把话语整理得好清楚，感觉都可以当工具书用。

综述部分详细，不过为什么要争夺叙事艺术的媒介霸权？为什么要纠缠媒介身份是不是特效？复杂化了机械再造的概念，全球的修复专家都不能从感官上区分数字与胶片的影像。第四章有趣，讲了拍摄(filming)与录制(recording)的区别，归结到德国哲学中的扬弃(Aufhebung)。“媒介的两次诞生”，一次建构(constitute)，另一次体制(institute)。

综述部分详细，不过为什么要争夺叙事艺术的媒介霸权？为什么要纠缠媒介身份是不是特效？复杂化了机械再造的概念，全球的修复专家都不能从感官上区分数字与胶片的影像。第四章有趣，讲了拍摄(filming)与录制(recording)的区别，归结到德国哲学中的扬弃(Aufhebung)。“媒介的两次诞生”，一次建构(constitute)，另一次体制(institute)。