New Aesthetic Characteristics Emerging in the Digital Cinema Era
DOI:
https://doi.org/10.54097/ijeh.v2i1.224Keywords:
Digital cinema, Digital image, Aesthetic characteristics, Cinema spectacleAbstract
Digital film technology has constantly transformed and enhanced the fundamental aesthetic elements in the traditional aesthetic categories of film aesthetics during its gradual penetration into the film art system, enabling these fundamental aesthetic elements to take on new forms and appearances that enrich the artistic communication of film and mark This is a sign of artistic advancement. The fusion of old and new technologies in synergy with the original film system has also accelerated the development of digital film technology as an aesthetic model, and in adapting to the original film art system, digital film aesthetics has produced aesthetic implications that transcend the original system, in terms of virtual images, spatial and temporal concepts, narrative modes, sound and picture relationships, and movement characters. They all exhibit new aesthetic characteristics that are distinct from traditional film aesthetics in terms of virtual images, spatial and temporal concepts, narrative modes, sound and image relationships, movement characteristics, and interactive methods. When one examines existing discussions on digital cinema in China and globally, it is easy to see that they primarily focus on expanding the audiovisual expression of images and on the study of the expressive power and image effects of digital special effects, while research on expanding film concepts and expanding film aesthetics is superficial, or even nonexistent. From a film aesthetics standpoint from the standpoint of film aesthetics, as digital technology has gradually displaced traditional modes of film production and concepts, audience viewing styles, and human aesthetic concepts, the aesthetics of digital film under the new digital technology can be a new construction in terms of time and space, reality, narrative techniques, virtual reality, and aesthetic acceptance. Based on established film theories and aesthetic notions, this study will seek to develop film aesthetics in the digital era, highlighting the study's uniqueness and systemic character in light of shifting aesthetic categories and the incorporation of new aspects in digital cinema.
Downloads
References
Artaud, A. (2018). Theatre and its Double. Alma Books.
Belton, J. (2002). Digital cinema: a false revolution. October, (100), 98-114.
Bukatman, S. (1999). The artificial infinite: on special effects and the sublime. Alien Zone II, 249-276.
Bonnard, M. (2016). La galaxie cinéma: migration et retour à la salle/Francesco Casetti, The Lumière Galaxy: Seven Key Words for the Cinema to Come, New York, Columbia University Press, 2015, 293 p. Cinémas: revue d'études cinématographiques/Cinémas: Journal of Film Studies, 26(2-3), 229-238.
de Gorguette d’Argoeuves, T. (2010). Book Review: The Metaphysics of Virtual Reality-Michael Heim. ABAC Journal, 30(2).
De Iulio, S. (2003). Lev Manovich, The Language of New Media. Cambridge, Massachusetts, London, England, The MIT Press, 2001, 354 p. Questions de communication, (4), 473-475.
Furstenau, M. (2003). Cinema, Language, Reality: Digitization and the Challenge to Film Theory (Doctoral dissertation, McGill University).
Ganz, A., & Khatib, L. (2006). Digital cinema: The transformation of film practice and aesthetics. New Cinemas: Journal of Contemporary Film, 4(1), 21-36.
Gaut, B. (2010). A philosophy of cinematic art. Cambridge University Press.
Gunning, T. (1986). The cinema of attraction [s]: Early film, its spectator and the avant-garde. The Animation Studies Reader, 17-27.
King, G. (2000). Spectacular Narratives: Contemporary Hollywood and Frontier Mythology. IB Tauris.
King, J.. (2013) ‘Zone, Ray. 3-D revolution: the history of modern stereoscopic cinema’, CHOICE: Current Reviews for Academic Libraries. American Library Association CHOICE, p. 909.
Matthews, P. (2001) ‘The death of cinema: History, cultural memory and the digital Dark Age’, Sight and Sound. LONDON: BRITISH FILM INST, pp. 32–32.
Rodowick, D. N. (2009). The virtual life of film. Harvard University Press.
Swale, A. D. (2015). Anime as Art: Digital Cinema and the Anime Aesthetic. In Anime Aesthetics (pp. 120-140). Palgrave Macmillan, London.
Vexo, F. (2005). Virtual reality technology (2nd edn). Grigore C. Burdea and Philippe Coiffet, Wiley, New York, 2003. No. of pages: xvi+ 444. ISBN 0‐471‐36089‐9.
