consolidation across platforms the emergence of convergence
28.05.08
announcements
guidelines for paper posted final self-evaluation: now optional strike issues: I’ll keep you updated
postmortem
Dream Machine: The Visual Computer (Voyager, 1986)
– one ‘shocking’ moment early on that raises this question most strongly – the ease of digital image modification in comparison to analogous real-life events that illustrates the difference b/t indexical and non-indexical technologies; and the realism of visual images – artificiality of images highlights “painterly” qualities
postmortem
The Making of Walking with Dinosaurs (BBC, 1999)
– not about dinosaurs but about animation – also dealing w/ indexicality and realism – collaboration b/t scientists and animators to create and discover how dinosaurs ‘really’ looked and moved – ‘indexical jokes’: director interacting with animated dinosaur; breath on the lens – compositing issues – controversy over indexical realism
Jeffrey Shaw
http://www.medienkunstnetz.de/index/ names
example of “expanded cinema” (analog & digital) visual sesory environment; connection/distance of figure to this environment Movie Movie (1967) conFiguring the CAVE (1996) Place-Ruhr (2000)
Zoe Beloff
http://www.zoebeloff.com/
using digital media as precinematic medium Where Where There There Where (1998) w/ the Wooster Group Beyond (1997)
expanded digital cinematography
Dancer in the Dark (Lars von Trier, 2000)
100 cameras – uses digital video to create new forms of cinematography and filmmaking
economies of scale
low end of the scale:
– individual productions of YouTube – DIY lo-res webcam aesthetics – immediate upload distribution
economies of scale
independent feature production
– from 16mm (& super16) to DV
1998: Festen [The Celebration] (Thomas Vinterberg)
– Dogme 95 film – first wide theatrical released for a feature film shot on digital video (transferred to 35mm film) – opens up use of professional, prosumer, & consumer DV for independent film shooting – the idea of democratic filmmaking through lowered costs of digital technology
economies of scale
independent and major feature production
– from DV & 35mm to HD cinematography costs can be lower, but often are not on major productions
economies of scale
has digital technology lowered the cost of filmmaking?
not necessarily – in fact, one could argue that it has contributed to the dramatic increase in production/postproduction costs – rising costs of special effects, the increased dominance of special effects based films
economies of scale
has digital technology lowered the cost of filmmaking?
King Kong: $207 million X-Men: The Last Stand: $210 million Pirates of the Caribbean: Dead Man’s Chest: $225 million Superman Returns: $260million Spider-Man 3: $300 million the increased costs going mainly into CGI (computer generated imaging)
economies of scale
has digital technology lowered the cost of filmmaking?
– digital technology contributes to the overall increase in filmmaking costs – yet it also expands the range of outlets for distribution – and (potentially) the types of low-budget films that can be made however, all these are affected by consolidation and deregulation of media/entertainment industries
deregulation
consolidation and innovation in a general climate of deregulation:
– trend begun in 1970s (Carter) and especially 1980s (Reagan) – removing government controls and oversight – privatizing; liberalizing (neoliberalism); opening up competition – ideology of the free market; invisible hand; survival of the fittest – this ideology especially important in high-tech world
deregulation
media: telcom v. cable
– 1984: break up of AT&T; long distance phone competition – competition brings new services Telecom Act of 1996 – meant to break down regulations preventing a cable co. from delivering telecom services; – or a telecom co. from delivering cable services – AT&T: tries to convert to a cable co., but fails – telecom act itself seen as failure; produces consolidation