Digital Cinema: A False Revolution

Belton, John

doi:10.1162/016228702320218411

Cited by 65 publications

(17 citation statements)

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“…Dado que supone una transformación en la naturaleza de la experiencia visual del espectador (Belton 2002), se puede afirmar que la tecnología 3D-E fue una revolución tecnológica. Un plano general de la caída del agua en las cataratas del Niágara, filmado con la cámara 3D, no genera la misma respuesta en el espectador si se filma de forma convencional o con visión estereoscópica.…”

Section: Una Revolución Tecnológicaunclassified

“…Un plano general de la caída del agua en las cataratas del Niágara, filmado con la cámara 3D, no genera la misma respuesta en el espectador si se filma de forma convencional o con visión estereoscópica. El por qué una tecnología es una revolución o no depende de muchos factores, y no todas las revoluciones tecnológicas siguen el mismo camino (Belton 2002). La prueba se observa en la evolución que ha seguido desde sus inicios a principios del siglo XX.…”

Section: Una Revolución Tecnológicaunclassified

“…Sin embargo, no hay que confundir grabación y proyección digital con grabación y proyección 3D-E. La proyección digital no implica por sí misma una experiencia visual diferente, dado que lo que se sustituye es el soporte sobre el que se registra la imagen (Belton 2002). A diferencia de la proyección digital, la tecnología 3D-E permite una mayor similitud en términos de realismo entre lo que se proyecta y lo que se ve en la vida cotidiana.…”

Section: Una Revolución Tecnológicaunclassified

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El 3D estereoscópico: más allá de Hollywood

Gallardo¹

2011

Ventana Indiscreta

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Section: Una Revolución Tecnológicaunclassified

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El 3D estereoscópico: más allá de Hollywood

Gallardo¹

2011

Ventana Indiscreta

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“…Yet, on the other, these commemorations all but coincided with the diffusion of digital production and viewing technologies and the cultural milestone of the 'two-in-one' ending of century and millennium (e.g. Belton, 2002). Adding to this sense of epochal ending, 'the death of the last great Hollywood stars' (Katherine Hepburn, Gregory Peck, and so on), as Laura Mulvey has recently argued in Death 24X A Second, contributed to turn centenary celebrations into a sort of elegy (Mulvey, 2006: 17).…”

Section: Transience… and Continuationmentioning

confidence: 99%

Moving Pictures: Cinema and Its Obsolescence in Contemporary Art

Nardelli

2009

Journal of Visual Culture

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Increasingly, whirring film projectors, diaphanous filmstrips and cinema's apparently obsolete materials more generally have become prominent features of contemporary art. This article explores the widespread pursuit of cinematic obsolescence in contemporary gallery installations, and considers its relation to our current phase of media and technological change. Seen in the context of the much-vaunted transition to the digital age, this artistic phenomenon of engagement with cinema's materiality and historicity may seem an act of nostalgia, or even of mourning, for cinema itself. Even as nostalgic gestures, however, the most sophisticated of these cinematic installations, such as those by Rodney Graham and Atom Egoyan analysed at length here, are a way of thinking cinema, of (re) interrogating its very idea and the possibility of its future. Furthermore, and somewhat paradoxically, for all their courting of obsolescence -in fact, by very virtue of this process -these artistic practices configure not the death of cinema but its continuation.In Transmitting Culture (1997), Régis Debray outlines his conception of the difference between art and technology; or, more specifically, between the afterlife of the artwork and the machine once these objects enter their respective museums:

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“…With many present day cinema-goers reportedly having difficulty distinguishing between images projected digitally from those on 35mm, digital cinema is not a revolution for audiences. Consequently exhibitors have remained unconvinced of the potential of 2D digital cinema to dramatically increase attendance and revenues (Belton 2002: 104, Wessell 2007: 106, Inglis 2008. In order to provide incentives for exhibitors, the studios have proposed a scheme known as the Virtual Print Fee, which offers to compensate cinemas for the high cost of acquiring the digital cinema projection hardware.…”

Section: Digital Cinema and Exhibitionmentioning

confidence: 99%

‘Coming to a cinema near you?’: digitized exhibition and independent cinemas in Australia

Aveyard

2009

Studies in Australasian Cinema

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Australia is on the path to a full-scale conversion to digital cinema exhibition probably within the next five to ten years. Despite early optimism that digitization could provide a catalyst for greater democratization of the Australian exhibition market, by creating more opportunities for audiences to see independent and alternate films, this outcome now appears far from certain. The launch and ongoing roll-out of the international standard for digital exhibition, which is now firmly controlled by the major American studios, is intensifying, rather than diminishing, the market dominance of these media conglomerates and their local allies, the major Australian exhibition chains. Independent film exhibition and alternative presentation formats, on the other hand, are being pushed even further to the periphery by these increasingly centralized market forces. While independent and major exhibitors have historically coexisted, albeit at times in a somewhat uneasy relationship, the financial imperatives of digital cinema now threaten to drive many independent cinemas to the edge, and with it the ongoing diversity of cinema culture in Australia. Of particular concern is the fate of independent theatres in regional and rural locations where many of these cinemas provide the only public screening opportunities within large geographic areas. This article outlines digital developments in Australia's commercial cinema industry within a national and international context, and in doing so, considers the impact of digital exhibition technologies on Australia's independent cinema sector.

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Digital Cinema: A False Revolution

Cited by 65 publications

References 1 publication

El 3D estereoscópico: más allá de Hollywood

El 3D estereoscópico: más allá de Hollywood

Moving Pictures: Cinema and Its Obsolescence in Contemporary Art

‘Coming to a cinema near you?’: digitized exhibition and independent cinemas in Australia

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