Cinema in the digital age

"Does the digital era spell the death of cinema as we know it, or its rebirth? Or the emergence of something else entirely? Cinema in the Digital Age examines the fate of cinema in this new era, paying special attention not only to the technologies that are reshaping film, but to the cultural meaning of those technologies. Examining Festen (1998), The Blair Witch Project (1999), Timecode (2000), Russian Ark (2002), The Ring (2002) and others, this volume explores how such films are haunted by their own analogue pasts, and suggests that their signature element is not digital perfection but rather deliberate imperfections that take the form of blurry or pixilated images, shaky camera work and other elements that remind viewers that human beings made these films. Weaving together a rich variety of sources, Cinema in the Digital Age is a deeply humanistic look at the meaning of cinematic images in the era of digital perfection."--Book cover

The Adorno paradox -- Against method -- Analogue/digital splice -- Boredom and analogue nostalgia -- The digital spectacular -- Disposable aesthetics -- DV humanism -- Filmless films -- Frame dragging -- The ideology of the long take -- Image/text -- Incompleteness -- Interfaces -- iPod experiment -- Ironic mode -- Looking at yourself looking : avatar as spectator -- Media as its own theory -- Mobile viewing -- Moving space in the frame, and a note on film theory -- Natural time -- Nonlinear -- Pausing -- Punk -- Realism -- Real time -- The real you -- Remainders -- Sampling -- Secondary becomes primary -- Self-deconstructing narratives -- Shaky camera -- Shoot! (Si gira) -- Simultaneous cinema -- Small screens -- Target video -- Time, memory -- Time-shifting -- Tmesis : skimming and skipping -- Undirected films -- Viewer participation -- Virtual humanism : part 1 -- Virtual humanism : part 2 -- Visible language, spring 1977.