Virtual Life Of Film

Rodowick, D. N.

ISBN 10: 0674026985 / ISBN 13: 9780674026988

Published by Harvard University Press, 2007

About this Item

Proposes and examines three different responses to the disappearance of film in relation to other time-based media. This book suggests that film occupies a special place in the genealogy of the arts of the virtual: while film disappears, cinema persists - at least in the narrative forms imagined by Hollywood. Num Pages: 216 pages, 18 halftones. BIC Classification: APF. Category: (P) Professional & Vocational. Dimension: 235 x 156 x 15. Weight in Grams: 364. . 2007. Paperback. . . . . Books ship from the US and Ireland.

Seller Inventory # V9780674026988

Bibliographic Details

• Title: Virtual Life Of Film
• Publisher: Harvard University Press
• Publication Date: 2007
• Language: English
• ISBN 10: 0674026985
• ISBN 13: 9780674026988
• Binding: Soft cover
• Condition: New

About this title

Synopsis

As almost (or, truly, virtually) every aspect of making and viewing movies is replaced by digital technologies, even the notion of “watching a film” is fast becoming an anachronism. With the likely disappearance of celluloid film stock as a medium, and the emergence of new media competing for an audience, what will happen to cinema―and to cinema studies? In the first of two books exploring this question, D. N. Rodowick considers the fate of film and its role in the aesthetics and culture of moviemaking and viewing in the twenty-first century.

Here Rodowick proposes and examines three different critical responses to the disappearance of film in relation to other time-based media, and to the study of contemporary visual culture. Film, he suggests, occupies a special place in the genealogy of the arts of the virtual: while film disappears, cinema persists―at least in the narrative forms imagined by Hollywood since 1915. Rodowick also observes that most so-called “new media” are fashioned upon a cinematic metaphor. His book helps us see how digital technologies are serving, like television and video before them, to perpetuate the cinematic as the mature audiovisual culture of the twentieth century―and, at the same time, how they are preparing the emergence of a new audiovisual culture whose broad outlines we are only just beginning to distinguish.

About the Author

D. N. Rodowick is Glen A. Lloyd Distinguished Service Professor at the University of Chicago.