By André Gaudreault, Philippe Marion
Is a movie watched on a video monitor nonetheless cinema? Have electronic compositing, movement trap, and different complex applied sciences remade or obliterated the craft? Rooted of their speculation of the "double delivery of media," André Gaudreault and Philippe Marion take a good examine cinema's ongoing electronic revolution and reaffirm its important position in a swiftly increasing media landscape.
The authors commence with an outline of the extraordinary positions held by means of opposing camps within the debate over cinema: the "digitalphobes" who lament the implosion of cinema and the "digitalphiles" who rejoice its new, very important incarnation. all through, they remind readers that cinema hasn't ever been a static medium yet a sequence of approaches and adjustments powering a dynamic paintings. From their viewpoint, the electronic revolution is the 8th significant predicament within the historical past of movies, with extra disruptions to come back. Brokering a peace between either side, Gaudreault and Marion emphasize the cultural perform of cinema over inflexible claims on its identification, relocating towards a standard perception of cinema to higher comprehend the place it truly is headed next.
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Additional info for The End of Cinema? A Medium in Crisis in the Digital Age (Film and Culture)
What happened to it? The upheaval goes back to the 1950s. 57 For some people, then, the arrival of television on a massive scale brought about the death of cinema (chronologically, this will be our death number five). 58 In 1967, very few people in film circles used quotation marks to distance themselves from the thing itself. ”59 That is not all, however. For Boussinot, although television stabbed cinema in the back, the coup de grâce came from elsewhere. The guilty party this time was not television, but that very simple device known as the video playback machine, which liberated the television set from its subservience to exogenous programming because it did not limit it to broadcasting only programs on a given channel, according to a fixed schedule and upon which the 28 Cinema Is Not What It Used to Be viewer could not act.
Alexandre Arnoux, for example, also writing in 1928, made remarks that foreshadowed by seventy years the concept of the double birth 31 Cinema Is Not What It Used to Be of cinema that we proposed in 1999:69 “We are witnessing either a death or a birth, no one can tell for sure yet which. . Second birth or death? 70 Note Arnoux’s uncertainty: he cannot tell if the arrival of talking films is bringing with it a birth or a death. Even though it is always a case of hyperbole, this obsession with the death of the medium is an interesting idea.
1 The media of any given society and culture at any given time respond to one another, enter into dialogue or exchange, or crash into one another in spectacular fashion. In short, they constitute a system, even if its contours can appear fuzzy and abstract. They constitute a system, or rather are organized into a system, as Edgar Morin would say. Morin once endeavored to explain how organization became a system: “Organization interrelationally ties diverse elements, events, or individuals which henceforth become the components of a whole.