| Description |
1 online resource (xi, 308 pages) : illustrations, maps |
| Contents |
Crazy cameras -- Dividuated images -- Screen time -- Life to those pixels! -- The horrors of discorrelation -- Post-cinema after extinction |
| Summary |
"In DISCORRELATED IMAGES Shane Denson asserts that the nature of digital images does not correspond to the phenomenological assumptions on which classical film theory was built. While film theory is based on past film techniques that rely on human perception to relate frames across time, computer generated images use information to render images as moving themselves. Consequently, cinema studies and new media theory are no longer separable, and the aesthetic and epistemological consequences of shifts in technology must be accounted for in film theory and cinema studies more broadly as computer-generated images are now able to exceed our perceptual grasp. Denson introduces discorrelation as a conceptual tool for understanding not only the historical, but also the technological specificity, of how films are actively and affectively perceived as computer generated images. The book is divided into two parts. Part 1 draws out the conception of discorrelation and Part 2 further explores its effects. Denson begins by drawing on the central spectacles of the Transformers series, the Transformers themselves, as hyperinformatic cinema - figures intended to overload and exceed our perceptual grasp, enabled by algorithmic processing. Denson argues it is necessary to understand that Transformers are no longer visual figures to be consumed through simply watching the film, but instead figures that pull the viewer into increasingly participatory involvement. Later in the book, Denson considers a scene in Blade Runner 2049 wherein the holographic image of a deceased ex-girlfriend is overlayed onto another woman, in an intentionally imperfect way. This visual depiction of the uncertainty now present in disentangling images we see from the underlying technologies that generated them puts Denson's argument into conversation with broader societal concerns for socio-technological capacities newly within our grasp (like DeepFake videos) that play on perceptual indeterminacy in eerie ways, foreshadowing further inability to trust our own perception. Denson returns to Transformers in the final chapter to consider how these computer-generated images have exceeded spectacle, and are arguably not for human perception at all, thus serving as harbingers of human extinction, and the end of the environment as defined by human habitation"-- Provided by publisher |
| Bibliography |
Includes bibliographical references and index |
| Notes |
Online resource; title from digital title page (viewed on September 21, 2020) |
| Subject |
Digital images.
|
|
Digital cinematography.
|
|
Motion pictures -- Production and direction -- Technological innovations
|
|
Motion picture industry -- Technological innovations
|
|
Motion picture audiences.
|
|
Visual perception.
|
|
digital images.
|
|
visual perception.
|
|
PERFORMING ARTS -- Film & Video -- History & Criticism.
|
|
PERFORMING ARTS / Film & Video / History & Criticism
|
|
Digital cinematography
|
|
Digital images
|
|
Motion picture audiences
|
|
Motion picture industry -- Technological innovations
|
|
Visual perception
|
| Form |
Electronic book
|
| LC no. |
2019058966 |
| ISBN |
1478012412 |
|
9781478012412 |
|
