Home Free Lab ReportsThe changes in digital technologies and how the cinema portrays digital culture as the perspective of cinematics constructs a life of digital media

The changes in digital technologies and how the cinema portrays digital culture as the perspective of cinematics constructs a life of digital media

The changes in digital technologies and how the cinema portrays digital culture as the perspective of cinematics constructs a life of digital media. The article by Yoshida (2015) reveals how technology is being used as a way of addressing issues, using cinematics within the film Unfriended (2015) as the film is all set on the main characters desktop. Cinematic chronotopes are a concept of the developing industry in cinematics. Eugeni (2015) reveals two problematic issues which are discuss in the cinematic experience. Davis (2014) discusses how digital technology is changing cinematics and the spectatorial power, using CGI. Kiwitt (2012) uses the production perspectives, and artistic form and content which transforms how technology changes cinematic and digital culture.
The article by Emily Yoshida (2015) explores digital technologies within changing cinematics, with use of the film Unfriended (2015). Yoshida (2015) discusses how revolutionary it is that the entire movie is filmed on the main characters desktop. The film reveals life today as it tackles the issue of cyberbullying. However, the article doesn’t go any further with the changes in technology throughout cinematics. “we are never explicitly forced to look at anything; like the first forays into VR filmmaking, the filmmaker can only suggest where the eye should go via composition.” (Yoshida, 2018). Which expresses how the director wanted to convey to the audience that technology is advancing, and we won’t be able to control what is private and what is shown to the world. Yoshida (2018) discovers the dramatic effect as the use of live-chats provides less work within the film. Art and life are beginning to diverge, there is a cinematic world where the bulk of our development is illustrated in the physical space (Yoshida, 2018). It is also a place where our lives will be played mostly on the screen due to the technology used to create a façade for people watching.
Through the two problematic issues which were discussed throughout the article, Eugeni (2015) cinematic experience is produced by the interaction between actual and audiovisual text. The second, Hesselberth discusses the aims which identify the similarities between cinematic phenomena, while also discussing the differences. Cinematic chronotopes explores the concepts of the developing industry in cinematics. Eugeni (2015) explains how contemporary debate of the survival roles in cinema are due to digital media. Cinematics is consequential from film experience, but it is also connected to other platforms and allows the experience of visual and aural medias. Cinema portrays digital culture through the “contact with the image and sound technologies operating the production of the presence, that is the experience of a dynamic.” (Eugeni, 2015). Furthermore, digital culture within cinema is an analysis of contemporary post classic Hollywood movies, these all belong to the genre ‘puzzle plots’ (Buckland). For example, films with complex temporal structures, which reveal flash-forward tropes. The issues within cinematic experiences relates to the historical, it becomes the characterized cinematic view which links to the history of cinemas present situation. Hesselberth ’embodies’ and existing paradigm through the dispositive of classical cinema, she also hypothesises that cinema originates from ‘modern’ cinema, with a direct link to contemporary post-cinema.
Davis (2014) article discusses the digital technologies changing cinematics and digital culture throughout the text. Digital information only comprehensible to search engines, and existing on extensive networks of corporate and personal machines. The spectatorial power, through the use of CG cinema we see the changing culture of cinema as the signifier of proliferation, connected to human control. Davis (2014) further illustrates the amount of effort technological advancements within the film industry using CGI and the removal of live-action acting, as most are either animated or the characters are CGI incorporated. “Popular discourse about, and consumer technologies for, the production of digital images grants them a certain reflexivity.” (Davis, 2014). The collapse of the global space with instant communications, with the exponentially expanding network in which individuals struggle to find a place. Cinema has created monsters either through social media or creating images which we create on our own. Through the examples of Jack the giant slayer (2013) we are given a form of monstrosity and the unknown as we depict a certain image of what the giants are meant to look like “they wear little clothing, but the garments they do wear are made of rough skin and fur.” (Davis, 2014).
Kiwitt (2012) researches the changing technology within cinema in the digital age and how this reveals a production perspective. Kiwitt further analyses the theory between cinema and other forms of moving images. Stephan Prince and many others have categorised the changes in production, post production and how new technologies have transformed the basic elements of cinema theory. Kiwitt (2012) defines the cinema form to be a part of production practice through composing and editing live-action images and videos to enhance artistic form and content. The article further defines the cinema medium and television form as both forms of expression and create live-action moving images. Thomas Edison’s invention of the Kinetograph camera in 1892, created a way of producing the shots needed to make its single-viewer “peephole” kinetoscope player viable. Digital culture as a developing concept reveal a unity of analogue technology and exhibition. (Kiwitt, 2012). Michael Wesch’s viral video Web 2.0 identifies us as the machine and argues that the content is effectively formless within the digital realm. The article itself demonstrates how directors work in a multi-camera television environment, seeing perspectives within different views and reveals early nonlinear editing systems which are only capable of “off-line.”

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