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Digital Cinema :video_camera: / :movie_camera:, Julio Garcia Espinosa,…

- - - - Bazin argues that photographies indexical basis in reality deems photographically produced images as the most credible (compared to paintings, illustrations, etc.). Doane argues that digital image technology has reversed this. The ease by which digital images can be manipulated puts the credibility of all digital images into question.
- - - - The grainy, imperfect look of 28 Days Later represents the unsteady condition of Western society following the collapse of capitalism.
- - - - DOGME 95
        
        DOGME 95 is Danish film movement from the mid-1990s started by directors Thomas Vinterberg and Lars Von Trier who wrote The Vow of Chastity. The goal of the DOGME 95 movement was to embrace storytelling and reject the over-stylization of mainstream cinema.
        
        Vinterberg & Trier, The Vow of Chastity (1995)
        
        Shooting must be done on location. Props and sets must not be brought in (if a particular prop is necessary for the story, a location must be chosen where this prop is to be found).
        
        The sound must never be produced apart from the images or vice versa.(Music must not be used unless it occurs where the scene is being shot.)
        
        The camera must be hand-held. Any movement or immobility attainable in the hand is permitted.
        
        The film must be in color. Special lighting is not acceptable. (If there is too little light for exposure the scene must be cut or a single lamp be attached to the camera.)
        
        Optical work and filters are forbidden.
        
        The film must not contain superficial action. (Murders, weapons, etc. must not occur.)
        
        Temporal and geographical alienation are forbidden. (That is to say that the film takes place here and now.)
        
        Genre movies are not acceptable.
        
        The film format must be Academy 35 mm.
        
        The director must not be credited.
      - The Celebration (1998) is the first film created under the rules of DOGME 95 by Thomas Vinterberg. The grainy picture and handheld recording technique add a level of, what Nicholas Rombes describes as, humanism to the engaging story.
  - - - "To create the shot, the real feather was filmed against a blue background in different positions; this material was then animated and composited against shots of a landscape. The result: a new kind of realism, which can be described as 'something that looks as if it is intended to look exactly as if it could have happened, although it really could not.'"
        
        Hyperrealism
        
        Hyperrealism describes digital video's ability to depict real events which are impossible to capture without the aid of CGI.
      - "Special effects, which involved human intervention into machine-recorded and which were therefore delegated to cinema's periphery throughout its history, become the norm of digital filmmaking."
      - "digital film = live action material + painting + image processing + compositing + 2-D computer animation + 3-D computer animation"
    - - “Digital imaging operates according to a different ontology than do indexical photographs. But in less obvious ways, as well, digital imaging can depart from photographically coded realism. Objects can be co-present in computer space but not in the physical 3D space which photography records.”
        
        Digital imaging creates seemingly real objects with no referent based in reality–in complete opposition to indexicality.
- - - - "Neoliberalism has no problem with excess. Far from being subversive, transgression today is entirely normative."
        
        In the postmodern era, audiences are unaffected by radical formal, genre, and/or narrative changes like in the modern era. Such artistic shifts (exemplified by Shaviro through the progression of popular music "from Charlie Parker to Elvis to Guns N' Roses") no longer shock audiences and quietly become adopted into the mainstream and are exploited for capital gain.
        
        Postmodernism
        
        "Every supposedly "transgressive" act or representation expands the field of capital investment. It opens up new territories to appropriate, and jump-starts new processes from which to extract surplus value."
  - - - "In post-continuity films, unlike classical ones, continuity rules are used opportunistically and occasionally, rather than structurally and pervasively. Narrative is not abandoned, but it is articulated in a space and time that are no longer classical."
        
        "In classical continuity styles, space is a fixed and rigid container...in post-continuity films, this is not necessarily the case. We enter into the spacetime of modern physics; or better, into the 'space of flows,' and the time of microintervals and speed-of-light transformations, that are characteristic of globalized, high-tech financial capital."
  - - - "Four tactics of camerawork and editing seem to me central to intensified continuity....
        
        More rapid editing...
        
        Bipolar extremes of lens lengths...
        
        More close framings in dialogue scenes...
        
        A free-ranging camera..."
        
        "Contrary to claims that Hollywood style has become post-classical, we are still dealing with a variant of classical filmmaking. An analysis of virtually any film from the period I’ve picked out will confirm a simple truth: nearly all scenes in nearly all contemporary mass-market movies...are staged, shot, and cut according to principles which crystallized in the 1910s and 1920s. Intensified continuity constitutes a selection and elaboration of options already on the classical filmmaking menu."
        
        Speed Racer (2008) embodies both Shaviro and Bordwell's positions on continuity. To Shaviro's point, the film employs continuity techniques very particularly and feels like it moves at the "speed-of-light." While, to Bordwell's point, the majority of the film is shot in a very recognizable, classical style but the pace and digital spaces are very unfamiliar and disturb the viewers recognition of said style.