LEADER 04098nam 2200793 450 001 9910817031603321 005 20230331200205.0 010 $a0-231-53938-X 024 7 $a10.7312/gaud17356 035 $a(CKB)3710000000361052 035 $a(EBL)1922300 035 $a(SSID)ssj0001437880 035 $a(PQKBManifestationID)11934930 035 $a(PQKBTitleCode)TC0001437880 035 $a(PQKBWorkID)11373469 035 $a(PQKB)10464568 035 $a(StDuBDS)EDZ0001252326 035 $a(DE-B1597)458328 035 $a(OCoLC)1002244360 035 $a(OCoLC)1004882490 035 $a(OCoLC)1011452625 035 $a(OCoLC)904407252 035 $a(OCoLC)979953894 035 $a(OCoLC)984647569 035 $a(OCoLC)987933894 035 $a(OCoLC)992507213 035 $a(OCoLC)999378128 035 $a(DE-B1597)9780231539388 035 $a(MiAaPQ)EBC1922300 035 $a(Au-PeEL)EBL1922300 035 $a(CaPaEBR)ebr11048866 035 $a(CaONFJC)MIL745893 035 $a(EXLCZ)993710000000361052 100 $a20150508h20152015 uy 0 101 0 $aeng 135 $aurun#---auuuu 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe end of cinema? $ea medium in crisis in the digital age /$fAndre? Gaudreault and Philippe Marion ; translated by Timothy Barnard 210 1$aNew York, New York :$cColumbia University Press,$d2015. 210 4$d©2015 215 $a1 online resource (257 pages) 225 1 $aFilm and Culture 300 $aDescription based upon print version of record. 311 $a0-231-17357-1 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tContents --$tPreface --$tIntroduction. The End of Cinema? --$tOne. Cinema Is Not What It Used to Be --$tTwo. Digitalizing Cinema from Top to Bottom --$tThree. A Brief Phenomenology of "Digitalized" Cinema --$tFour. From Shooting to Filming: The Aufhebung Effect --$tFive. A Medium Is Always Born Twice . . . --$tSix. New Variants of the Moving Image --$tSeven. "Animage" and the New Visual Culture --$tConclusion. A Medium in Crisis in the Digital Age --$tNotes --$tAcknowledgments --$tSelected Bibliography --$tIndex 330 $aIs a film watched on a video screen still cinema? Have digital compositing, motion capture, and other advanced technologies remade or obliterated the craft? Rooted in their hypothesis of the "double birth of media," André Gaudreault and Philippe Marion take a positive look at cinema's ongoing digital revolution and reaffirm its central place in a rapidly expanding media landscape. The authors begin with an overview of the extreme positions held by opposing camps in the debate over cinema: the "digitalphobes" who lament the implosion of cinema and the "digitalphiles" who celebrate its new, vital incarnation. Throughout, they remind readers that cinema has never been a static medium but a series of processes and transformations powering a dynamic art. From their perspective, the digital revolution is the eighth major crisis in the history of motion pictures, with more disruptions to come. Brokering a peace among all sides, Gaudreault and Marion emphasize the cultural practice of cinema over rigid claims on its identity, moving toward a common conception of cinema to better understand where it is headed next. 410 0$aFilm and culture. 606 $aMotion pictures$xPhilosophy 606 $aMotion pictures$xTechnological innovations 606 $aMotion pictures$xSocial aspects 606 $aDigital media 615 0$aMotion pictures$xPhilosophy. 615 0$aMotion pictures$xTechnological innovations. 615 0$aMotion pictures$xSocial aspects. 615 0$aDigital media. 676 $a791.4301 700 $aGaudreault$b Andre?$0530484 702 $aMarion$b Philippe 702 $aBarnard$b Timothy 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910817031603321 996 $aThe end of cinema$93968664 997 $aUNINA