Foto des Verkäufers
Titel: Supercinema: Film-Philosophy for the Digital...
Verlag: Berghahn Books, New York, NY, U.S.A
Zustand: Very Good
Zustand des Schutzumschlags: No Dust Jacket
Art des Buches: Used
First edition. Hardcover with very lightly bumped spine ends. Pages are clean, binding is sound, and text remains clear throughout. No dust jacket. T. Buchnummer des Verkäufers 407259
Inhaltsangabe: Drawing on a variety of popular films, including Avatar, Enter the Void, Fight Club, The Matrix, Speed Racer, X-Men and War of the Worlds, Supercinema studies the ways in which digital special effects and editing techniques require a new theoretical framework in order to be properly understood. Here William Brown proposes that while analogue cinema often tried to hide the technological limitations of its creation through ingenious methods, digital cinema hides its technological omnipotence through the continued use of the conventions of analogue cinema. As such, digital cinema is analogous to Superman hiding his powers behind the persona of Clark Kent - as opposed to most other superheroes who hide their limitation behind their superheroic alter ego. Locating itself on the cusp of film theory, film-philosophy, and cognitive approaches to cinema, Supercinema also looks at the relationship between the spectator and film, especially film that utilizes digital technology to maximum, "supercinematic" effect.
Rezension: "The author presents - an innovative perspective on cinema in the digital age. From the opening page, we encounter an articulate writing voice that presents a broad agenda for the study of contemporary cinema - with Fight Clubstanding in as a constant reference point." * Warren Buckland, Oxford Brookes University "This is an excellent, provocative book that I enthusiastically recommend - The author succeeds in helping to forge a new paradigm by which to conceptualize and theorize cinema in the era of the digital. This is important work, because too often, when writing about contemporary cinema that is "digital" either in its technical specifications or aesthetics, we are forced to rely on terminology and concepts imported from pre-digital cinema." * Nicholas Rombes, University of Detroit Mercy
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