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Hshj kjajah jha Lev Manovich WHAT IS DIGITAL CINEMA? Cinema, the Art of the Index[1] Thus far, most discussions of cinema in the digital age have focused on the
the proponent of a digital picture be ready to establish a complete chain of custo. 12. Hshj kjajah jha Lev Manovich WHAT IS DIGITAL CINEMA? Cinema, the Art of the
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Lev Manovich
WHAT IS DIGITAL CINEMA?
Cinema, the Art of the Index[1]
Thus far, most discussions of cinema in the digital age have focused on the possibilities of interactive narrative. It is not hard to understand why: since the majority of viewers and critics equate cinema with storytelling, digital media is understood as something which will let cinema tell its stories in a new way. Yet as exciting as the ideas of a viewer participating in a story, choosing different paths through the narrative space and interacting with characters may be, they only address one aspect of cinema which is neither unique nor, as many will argue, essential to it: narrative.
The challenge which digital media poses to cinema extends far beyond the issue of narrative. Digital media redefines the very identity of cinema. In a symposium which took place in Hollywood in the Spring of 1996, one of the participants provocatively referred to movies as "flatties" and to human actors as "organics" and "soft fuzzies."[2] As these terms accurately suggest, what used to be cinema's defining characteristics have become just the default options, with many others available. When one can "enter" a virtual three-dimensional space, to view flat images projected on the screen is hardly the only option. When, given enough time and money, almost everything can be simulated in a computer, to film physical reality is just one possibility.
This "crisis" of cinema's identity also affects the terms and the categories used to theorize cinema's past. French film theorist Christian Metz wrote in the 1970s that "Most films shot today, good or bad, original or not, 'commercial' or not, have as a common characteristic that they tell a story; in this measure they all belong to one and the same genre, which is, rather, a sort of 'super-genre' ['sur-genre']."[3] In identifying fictional films as a "super-genre' of twentieth century cinema,...
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