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New Medium Specificities : = Toward a Politics and a Poetics of Digital Cinema.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	New Medium Specificities :/
其他題名:	Toward a Politics and a Poetics of Digital Cinema.
作者:	Denison, Alex.
面頁冊數:	1 online resource (202 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-01, Section: A.
Contained By:	Dissertations Abstracts International85-01A.
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=30425568click for full text (PQDT)
ISBN:	9798379786762

New Medium Specificities : = Toward a Politics and a Poetics of Digital Cinema.
Denison, Alex.

New Medium Specificities :Toward a Politics and a Poetics of Digital Cinema. - 1 online resource (202 pages)

Source: Dissertations Abstracts International, Volume: 85-01, Section: A.

Thesis (Ph.D.)--The University of Iowa, 2023.

Includes bibliographical references

This dissertation engages with the concept of medium specificity in order to illustrate its continued relevance for film and media studies despite frequent claims of its obsolescence in the age of media convergence. Theories of convergence generally argue that medium specificity no longer holds weight after the supposed "digital revolution" in which distinctions between media like television, video games, and cinema become blurred because they can be accessed on the same devices such as laptops or smartphones. Yet cinema in particular has been a hybrid medium since its inception and classical film theory from the 1930s to the 1960s often attests to this fact even as it sought to define the unique properties of this new art form. Recent theories of convergence occlude this historical fact and frequently function as little more than capitulations to media conglomerates that have the most to gain from such theories.I argue that medium specificity is still a valid framework for film studies precisely because digitality has called cinema's autonomy into question. As many contemporary scholars have noted, digital cinema certainly constitutes a rupture with previous conceptions of cinema in the analog age. Yet this rupture is also accompanied by many contiguities with the past. One example is the concept of filmic indexicality (i.e. cinema's inherent connection with physical reality). While some theorists posit that this concept is specific to analog processes while digitality is defined by the opposite concept of manipulation, I maintain that digital documentaries about social and political issues reveal that indexicality continues to be an integral part of the moving image regardless of its technological base. Medium specificity, I argue, can help to discover both the profound changes that digital cinema has wrought in the history of film as well as the persistence of many aspects that have defined cinema since its emergence in the late 19th century.My dissertation is organized into four chapters that explore my argument for the relevance of medium specificity from various standpoints. Chapter One ("Media Convergence as Medium Specificity in Classical Film Theory") looks to canonical writers like Rudolf Arnheim and Andre Bazin who defined cinema's specificity via its crosspollination with other art forms like painting and theater. Chapter Two ("Celluloid Base/Pixelated Trace: Profilmic Digitality in Analog Cinema") argues for a social rather than technological determination of a medium like cinema and shows how many films can be categorized as digital cinema even as they continue to rely on film stock as their technological base. Chapter Three ("Analog Begets the Digital, from SD to HD") looks to filmmakers like Agnes Varda and Pedro Costa who made the switch from analog to digital production, taking advantage of the new possibilities in digital image capture while simultaneously maintaining the political and social convictions present in their analog work. And Chapter Four ("Digital Materialism and Materiality in Experimental Cinema") focuses on experimental filmmakers who use digital technology to comment on the environmental impact of that very same technology.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9798379786762Subjects--Topical Terms:

2122736
Film studies.
Subjects--Index Terms:

Critical theoryIndex Terms--Genre/Form:

542853
Electronic books.

New Medium Specificities : = Toward a Politics and a Poetics of Digital Cinema.
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504 $a Includes bibliographical references
520 $a This dissertation engages with the concept of medium specificity in order to illustrate its continued relevance for film and media studies despite frequent claims of its obsolescence in the age of media convergence. Theories of convergence generally argue that medium specificity no longer holds weight after the supposed "digital revolution" in which distinctions between media like television, video games, and cinema become blurred because they can be accessed on the same devices such as laptops or smartphones. Yet cinema in particular has been a hybrid medium since its inception and classical film theory from the 1930s to the 1960s often attests to this fact even as it sought to define the unique properties of this new art form. Recent theories of convergence occlude this historical fact and frequently function as little more than capitulations to media conglomerates that have the most to gain from such theories.I argue that medium specificity is still a valid framework for film studies precisely because digitality has called cinema's autonomy into question. As many contemporary scholars have noted, digital cinema certainly constitutes a rupture with previous conceptions of cinema in the analog age. Yet this rupture is also accompanied by many contiguities with the past. One example is the concept of filmic indexicality (i.e. cinema's inherent connection with physical reality). While some theorists posit that this concept is specific to analog processes while digitality is defined by the opposite concept of manipulation, I maintain that digital documentaries about social and political issues reveal that indexicality continues to be an integral part of the moving image regardless of its technological base. Medium specificity, I argue, can help to discover both the profound changes that digital cinema has wrought in the history of film as well as the persistence of many aspects that have defined cinema since its emergence in the late 19th century.My dissertation is organized into four chapters that explore my argument for the relevance of medium specificity from various standpoints. Chapter One ("Media Convergence as Medium Specificity in Classical Film Theory") looks to canonical writers like Rudolf Arnheim and Andre Bazin who defined cinema's specificity via its crosspollination with other art forms like painting and theater. Chapter Two ("Celluloid Base/Pixelated Trace: Profilmic Digitality in Analog Cinema") argues for a social rather than technological determination of a medium like cinema and shows how many films can be categorized as digital cinema even as they continue to rely on film stock as their technological base. Chapter Three ("Analog Begets the Digital, from SD to HD") looks to filmmakers like Agnes Varda and Pedro Costa who made the switch from analog to digital production, taking advantage of the new possibilities in digital image capture while simultaneously maintaining the political and social convictions present in their analog work. And Chapter Four ("Digital Materialism and Materiality in Experimental Cinema") focuses on experimental filmmakers who use digital technology to comment on the environmental impact of that very same technology.
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653 $a Analog Cinema
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