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3-D films. --- Digital cinematography. --- Cinéma en relief --- Cinéma numérique --- Cinéma en relief --- Cinéma numérique

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Cinema, the primary vehicle for storytelling in the twentieth century, is being reconfigured by new media in the twenty-first. Terms such as "worldbuilding, " "virtual reality, " and "transmedia" introduce new methods for constructing a screenplay and experiencing and sharing a story. Similarly, 3D cinematography, hypercinema, and visual effects require different modes for composing an image, and virtual technology, motion capture, and previsualization completely rearrange the traditional flow of cinematic production. What does this mean for telling stories? Fast Forward answers this question by investigating a full range of contemporary creative practices dedicated to the future of mediated storytelling and by connecting with a new generation of filmmakers, screenwriters, technologists, media artists, and designers to discover how they work now, and toward what end. From Chris Milk and Aaron Koblin's exploration of VR spherical filmmaking to Rebeca Méndez's projection and installation work exploring climate change to the richly mediated interactive live performances of the collective Cloud Eye Control, this volume captures a moment of creative evolution and sets the stage for imagining the future of the cinematic arts.

Digital cinematography. --- Motion pictures and television. --- Mass media and language. --- Motion picture industry. --- Cinéma numérique --- Cinéma et télévision --- Médias et langage --- Cinéma --- Industrie --- Vidéo --- Digital video --- Digital cinematography --- Experimental films --- Technique --- Cinéma numérique --- Cinéma et télévision --- Médias et langage --- Cinéma --- Film --- Cinéma numérique. --- Vidéo. --- Technique.

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Explores how film analysis can take account of the presence of digital images in cinemaDigital images are now ubiquitous elements within the cinematic frame but, as we analyse films or film moments, it can often be difficult to be sure how - and how much - to talk about digital elements. This accessible book demystifies the relationship of digital imaging to processes of watching and reading films, and gives scholars and students the tools to engage with digital imaging in cinema with ease. A wide-ranging series of case studies demonstrates how digital elements can be discussed and analysed in

Digital cinematography --- Cinematography --- Motion pictures --- Cinéma numérique --- Cinéma --- Films --- History --- Production and direction --- Special effects --- Evaluation. --- Histoire --- Production et réalisation --- Effets spéciaux --- Evaluation --- Digital cinematography. --- Photography --- Chronophotography --- Digital filmmaking --- Digital moviemaking --- Technological innovations. --- Animated pictures --- Digital techniques

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"The author presents ... an innovative perspective on cinema in the digital age. From the opening page, we encounter an articulate writing voice that presents a broad agenda for the study of contemporary cinema - with Fight Club standing in as a constant reference point." · Warren Buckland, Oxford Brookes University "This is an excellent, provocative book that I enthusiastically recommend... The author succeeds in helping to forge a new paradigm by which to conceptualize and theorize cinema in the era of the digital. This is important work, because too often, when writing about contemporary cinema that is "digital" either in its technical specifications or aesthetics, we are forced to rely on terminology and concepts imported from pre-digital cinema." · Nicholas Rombes, University of Detroit Mercy Drawing on a variety of popular films, including Avatar, Enter the Void, Fight Club, The Matrix, Speed Racer, X-Men and War of the Worlds, Supercinema studies the ways in which digital special effects and editing techniques require a new theoretical framework in order to be properly understood. Here William Brown proposes that while analogue cinema often tried to hide the technological limitations of its creation through ingenious methods, digital cinema hides its technological omnipotence through the use of continued conventions more suited to analogue cinema, in a way that is analogous to that of Superman hiding his powers behind the persona of Clark Kent. Locating itself on the cusp of film theory, film-philosophy and cognitive approaches to cinema, Supercinema also looks at the relationship between the spectator and film that utilizes digital technology to maximum, 'supercinematic' effect.

Digital cinematography --- Motion pictures --- Cinéma numérique --- Cinéma --- Technological innovations. --- Innovations --- Motion pictures. --- Digital cinematography. --- Cinematography --- Digital filmmaking --- Digital moviemaking --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Digital techniques --- History and criticism

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Submergé par la déferlante du numérique, qui brouille radicalement les frontières entre les médias (cinéma, télévision, BD, Internet, téléphonie, etc.), le cinéma serait en train de mourir : la chaleur du photochimique a cédé le terrain à la froideur du pixel et le hors-film a commencé à envahir, avec ses transmissions par satellite, les salles dévolues au septième art. Pourtant le cinéma est partout : il s’inscrit sur de nouveaux supports et s’affiche sur de nouveaux écrans. On peut néanmoins se demander si un film en DVD vu sur écran vidéo, c’est encore du cinéma, et si les images encodées du compositing numérique et de la motion capture relèvent toujours du cinématographique. En s’appuyant sur leur hypothèse de la « double naissance des médias », les auteurs interrogent les soubresauts identitaires que le cinéma traverse aujourd’hui et proposent des clefs pour comprendre l’impact du numérique sur l’univers médiatique actuel. Serions-nous en train d’assister à une troisième naissance du cinéma ?

Motion pictures --- Motion picture industry --- Digital cinematography --- Digital media --- History --- Technological innovations --- Influence --- Motion perception (Vision) --- Cinéma numérique --- Perception du mouvement (Vision) --- Cinéma et société --- Médias numériques --- Cinéma et société. --- Cinéma numérique. --- Innovations. --- Cinéma numérique --- Cinéma --- Perception des images --- Histoire et critique. --- Histoire --- Industrie --- Influence. --- Aspect social. --- Aspect social --- Innovations --- Cinéma --- Social aspects --- Motion pictures - History --- Motion picture industry - Technological innovations --- Digital media - Influence