FILM ; Chicago media theory
Andre Bazin . in this seminal essay “The ontology of photographic image” derives. in the essay Bazin argues that to understand what cinema is one must attend not only to the ontology of the actual film but also the psychological conditions governing its reception.
it was a moment when a shift in the material, ontological basis of images forces d a reconfiguration of aesthetics and psychology in the ever-variable balance between the symbolic and realism.
Noel Carroll, asserts that a film image is a detached display. ne notes that while paintings are also detached display, films differ in that they offer the possibility for the impression of movement. A stage play, however, is both a detached display and offers the possibility for the impression of movement.
이 stage와의 차이점을 flusser가 이야기 했다.
most film therists have argued that conceiving of film as a unique, singular medium is wrong. Each artform is a multiplicity of media.
The key compoment about the ideological effects of the cinematographic apparatus is that film projection enables the illusion of continuous action even though film is composed of discrete images which in most films, is a string of minutely different photographic images. It is easy to think of photography as the antecedent to film; that the relationship between the two is natural or evolutionary.
evolutionary- the advent of cinema did not spell the demise of photography.
incresingly films are being edited with non-linear editing programs.
While analog film is still the basis for most major studio movies, the digital has invaded cinema to the point that, for Lev Manovich, “cinema is no longer an indevical media technology but, rather, a subgenre of painting… The photographic and cinematic aspects of cinema are being replaced by the painterly and the graphic.” The influence of digital media is altering, perhaps fundamentally, what it means to be a film. Or, as Manovich puts it: “The moving-image culture is being redefined once again.”