Analogue Obsolescene and the ‘Death of Cinema’ debate: the case of experimental film :
이 글에서 쓸만한 거는 현재도 꾸준히 contemporary experimental film 작업들이 만들어지고 있다는 거. 예전 materiliast film이 cinema를 전복시키려고 한 거였다면, 현재의 materialist film은 digital 문화에 대한 경계심에서 시작된다.
It is highly problematic in the sense that it encourages the understanding of digital technology as simply a replacement for fim. ..
Rodowick: ‘the deepest paradox of perceptual realism in the emergence of digital cinema is its presentation of images that appear to be, and want to be, “photographic” only more so.’ (3)
As Rodowick oberves: ‘cinema is inherently an autodestructive medim.. erosion… 어쩌구’ Interestingly, this dichotomy between analog and digital technology frequently hinges on metaphors of the body, where the fleshy interafce of celluliod, which bears the visible traces of aging on its scratched and scarred body, is seen as analogous to our own restrictive, unreliable and ultimately unstable wetware. (4)
the films of the English structural materialists Malcolm Le Crice, … relies on the experimental as an integral part of filmmaking process, which, to quote the filmmaker .. ‘requires an active and physical bonding between the maker and the product by way of the material substrate itself.’ The film is a physical testimony of the artist’s intricate, painstaking work on the surface of the celluloid, the trace of which is felt in the uneven, raw quality of the finished product. the process is IN the film. ..
Contemporary materialist film is arguably no less political or as a response to the changing landscape of cinema production. As Tess Takahashi points out in her sutidy of… ‘the cinematic avant-garde’s interest in celluloid film’s materiality goes to the heart of our culture’s current anxiety about the digital ability to seamlessly transcode, endlessly reproduce and recklessly disseminate images of all stripes.’
예전 materiliast film이 cinema를 전복시키려고 한 거였다면, 현재의 materialist film은 digital 문화에 대한 경계심에서 시작된다.
Contemporary materialist film evolves in relation to new technology and, as such, demands to by incorporated into theories of media change, cinematic representation and, more specifically, embodied viewing. (7)
몇 명 작가드을 예로 든다. 2000이후.