December 18, 2013

So where does this leave cinema?

Is cinema dead, undead, or still alive? In their book L’ecran global, Gilles Lipovetsky and Jean Serroy argue that cinema is alive and well and that we have entered a fourth phase of cinema, which they call the age of hypermodern cinema. The maxim of their book is a quote from Elia Kazan: “Films are the dialogue of the contemporary world.” Specifically, they argue that cinema has given the world its most radically modern apparatus: the screen. The hypermodern screen age (ecranosphere) is characterized by what they call image-excess, image-multiplex, and image-distance. The excessiveness of images is understood in terms of length, baroque aesthetics, speeds of editing, violence, and sexuality. The multiplex aspect they consider in respect to the hybridization of genres, multicultural and transnational exchanges in style and content, complex narration, and the multiplication of perspective and story lines. By distance-image, they refer to new combinations of immediate sensation and cognitive distance, as well as various types of self-reflexive references. They also refer to the proliferation and rising status of historical, memorial, and minority cinema that offers polemical views.

Patricia Pisters
The Neuro-Image
A Deleuzian Film-Philosophy of digital screen culture
Stanford University Press
ISBN-10: 0-8047-8136-2

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