g 322 film in the digital age

7/24/2019 g 322 Film in the Digital Age

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AS Media Studies

Study Notes

Unit G322 Section BAudiences and Institutions

The Film Industry

Part 9

Film in the Diital Ae

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Ne! Technoloies and "inema # a $2% year old lo&e a''air(

The film industry has always used new technologies relating to the making and showing offilms (although crucially, this has not always occurred as soon as the technologies have

become available). A brief list of crucial technological moments in the history of cinemawould include:

1. the )ro*ectionof moving images to create the original silent movies in makeshiftcinemas in the late 1!"s#

$. the financially successful introduction of sound (the +tal,ies+) in the late 1!$"s%early1!3"s which led to massive changes in the industry#

3. the wides&read ado&tion of colourand !idescreenin the 1!'"s in aneffort to combat the com&etition fromtelevision caused by the mass

&roduction of T sets, changingleisure &atterns, and the movement ofmuch of the &o&ulation out to newly

built suburbs following the econd*orld *ar#

+. the gimmicky, ultimately unsuccessfulfirst efforts to offer the &ublic three-dimensional 'ilmin the same &eriod,again in an effort to offer the &ublicsomething different from television#

'. the increasing use of tele&isionfromthe 1!"s as a medium for showingfilms with the accom&anying

reali-ation that in this way old filmscould effectively be recycled orresold#

. the advent of ./Srental andrecording from the 1!"s o&ening u&the &ossibility of again reselling oldfilms but also effectively re/releasingrelatively new films to a new 0window0 after a &eriod at the cinema#

. the introduction of satellite and ca0lechannels from the 1!"s which again offered afurther 0window0 for both old and relatively recent films (main &ackage channels,

&remium subscri&tion channels and &ay/to/view channels of course effectively

further subdivided this 0window0)#. the increased marketing of the +home cinemaconce&t0 from the 1!!"s so that with

technology allowing larger screens and surround sound something a&&roaching ananalogous cinema e&erience becomes &ossible#

!. the move to D.Dtechnology from the late 1!!"s which with the use of 0etras0 andan enhanced e&erience encourages consumers to re&lace their old video film librarywith the latest disc format#

1". the increasing use of the Internetfrom the late 1!!"s, for marketing initially but alsoincreasingly for downloading films#

11. the advent from around $""" of diital 'ilmma,in and diital )ro*ectionfacilitiesin cinemas#

1$. the recent 0format war0 between 2 and Blu-rayisc to become the successorgeneration format to .

13. the revitalisation of blockbuster films through the use of im&roved /D 3-d.

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http://www.google.co.uk/url?sa=i&rct=j&q=&esrc=s&frm=1&source=images&cd=&cad=rja&docid=HzXnr8XuSeR1kM&tbnid=ZjCXHADqeauJbM:&ved=0CAUQjRw&url=http://www.tumblr.com/tagged/this%20is%20cinerama&ei=onFIUem7CKe40QXo7YGwCA&bvm=bv.43828540,d.ZG4&psig=AFQjCNGuhubaE-a7G0m0PnPapfTPeMr8cw&ust=1363788558586303


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4ach of these moments of technological change for the industry are essentially concernedwith the viewing e&erience, but it is also true that there has been a &arallel series oftechnological changes in the making of films. 5or eam&le, when sound is successfullyintegrated into film then the cameras have to become silent in order that their mechanicalnoises are not &icked u& and obviously sound technology has to develo& 6uickly in order toenable voices to be &icked u& clearly# in fact a whole new field of &roduction and creativity

o&ens u&. 7erha&s we have currently reached a similar turning &oint because the big 6uestionnow is what im&act new digital &ossibilities for filmmaking and ehibition are going to haveon the industry.

Ne! technoloies and the Audience

8ew technologies might be said to offer consumers:1. an im&roved overall 6ualitative e&erience as a result of better sound and%or image

re&roduction#$. enhanced s&ectacle &erha&s through the sheer over&owering si-e of the screen or the

im&act on the senses of a surrounding wall of sound#3. im&roved ease of access, or ease of use, for instance, through enabling &eo&le to own

their own film collections in various formats#+. new, easier and intensified ways of using film for &leasure, for eam&le, 9A;

would seem to offer an intense 0fairground ride0 for the senses#'. an enhanced intellectual e&erience through the &rovision of increased knowledge or

understanding, for instance through the use of commentaries by directors on sthe chance to use new, ever chea&er and more com&act devices to make films forthemselves

Ne! technoloies and the Film Industry

8ew technologies offer the industry:1. the &ossibility of an im&roved o&&ortunity to create &rofits (the costs or re6uired

e&enditure involved in bringing in the new technology will be carefully balancedagainst the &ro


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Ne! technoloies and the cinema e1)erience

9t could be argued that new technologies have always added to, rather than detracted from,the cinema e&erience. The si-e and%or 6uality of the s&ectacle have been enhanced by eachnew develo&ment adding to the uni6ue nature of the cinematic 0event0 (even the advent oftelevision in a sense only highlights the difference and in &articular the s&ectacle of the

cinema e&erience).

The e&erience of the cinema itself cannot be easily re&licated or re&laced but the alternativee&eriences of &ay/T, or home cinema, have their own attractions &articularly in terms offleibility of viewing. The advent of T and changed leisure &atterns ended the socialdominance of the cinema as a source of entertainment and information (remember this wasonce the only &lace you could see visual images of news events). The cinema e&erience hasmade something of a comeback, although attendance is never going to match the heightsattained in 1!+ in both the =A and >ritain.

As with studying the content of the films themselves, what we find is that the industry and itstechnological base always have to be seen within social, economic, &olitical and historical

contets. Towards the end of the econd *orld *ar and immediately after, cinemaattendance &eaked, as without the &resence of television sets in the home &eo&le sought newsimages and &erha&s some sort of collective, community/enhancing esca&e. The nature ofcinema attendance at this moment was determined by the nature of the historical moment,and this is always the case. ?ur


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?thers such as some arist critics might suggest that this develo&ment, by isolatingconsumers from face/to/face human interaction, enables them to be more tightly controlledand mani&ulated.

?ther critics note the increased access to &ornogra&hy and etreme right/wing &ro&agandaavailable on the 9nternet, or &oint to an increasing ga& between information/rich and

information/&oor &o&ulations (less than one in a thousand black outh Africans, for eam&le,own a &hone).

+The 'uture o' 'ilm is comin into 'ocus Diital technoloy not only rede'ines mo&ies 0ut also

the &ery idea o' the imae 4e !ere 0orn in an analoue era !e shall die in a diital one Film

is an analoue that is a )hysical co)y o' somethin else it is 5analoous5 to !hat it

)hotora)hs A diital imae is not a co)y it is an electronic and mathematical translation+

6Schrader $9978

+I lo&e 'ilm 0ut it+s a nineteenth century in&ention The century o' 'ilm has )assed+ 6Geore

ucas 2%%%8

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Si1 im)ortant chanes to the Film Industry in the last decade

*ith the develo&ment of digital and com&uter mediated communication technologies, the&roduction, distribution, ehibition and rece&tion of film have been @ and continue to be @radically transformed. 9f one were to take a selective 0sna&/shot0 of the film/making &rocesstoday one would find the following new media interventions at work.

$ The Introduction o' Diital Story0oards

5irst is the increasin use o' electronic +mo&in imae+ story0oardsin both the&re/&roduction and &roduction stages of film/making (first &ioneered by 5rancis 5ordo&&olla during the making of >ram toker0s racula (1!!$)). o, instead of hand/drawn,inanimate storyboards being used to 0&itch0 a film, or organise and dynamise a day0s shootingschedule, the director and cinematogra&hers on a film utilise an electronic simulation of thestory%scene that is to be made @ a simulation which more accurately visualises what is to beshot.

2 The Increasin use o' /D Diital .ideo

econd is the increasin use o' Diital .ideo() cameras to shoot bothdocumentary and full length feature films. has a number of advantages over celluloidfilm. ameras are more mobile, and generally lighter to use# they are easier to o&erate# andreduce the costs of shooting and editing, &articularly because they do not use thecom&aratively more e&ensive film stock, neither do they need their video formats

&rocessing in the same way.hooting 0com&le0 scenes

is easier to organise,es&ecially in relation to therelative ease with whichlight source can bemonitored (unlike thearduous lighting systemsneeded for shooting oncelluloid).

ike 5iggis utilised thefleibility of the digital

format for the ground/breaking Timeode ($""").The film was shot in 0real/time0, with four (eventually)interconnecting stories being &layed out on a s&lit screen at the same time. The length of thefilm is the length of the ta&e that 5iggis had to shoot with. 4vents, actions, dramas, therefore,unfold on the screen as they (arguably) did during the shoot.

igital technology has reduced the costs of film making so much that can be seen aswidening access to the 0means of &roduction0 for new creative talent. And the convergence ofmedia through digital technology creates new o&&ortunities for distributing and ehibiting.

The diital re*u&enation o' 'ilm is not limited to the rand-scale strateies o' a lare industry

The diital has created ne! cultural economies There is clearly a )lace 'or short 'ilm &ia the

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internet Throuh di''erent !e0sites the diital &ersion o' 'ilm 0rea,s do!n the limitations o'

e1hi0ition that ha&e controlled !hat it is )ossi0le 'or audiences to see Diital cameras ha&e

made it )ossi0le to ha&e 'ilmic :ualities in the smallest o' )roductions Althouh this e1)ansi&e

de&elo)ment o' 'ilm is still :uite circumscri0ed it demonstrates ho! +'ilm+ has 0een more

accessi0le and is connected to the !ider ne! media and cultural )henomenon o' the !ill-to-

)roduce

6Marshall 2%%;8

3 The Increasin Use o' "GI

Third is the increasin use o' diital s)ecial e''ects or "om)uter Generated

Imaery(B9) in the film/making &rocesses. 9ncreasingly almost all fiction films willhave one or two different ty&es of digital s&ecial effect: invisible s&ecial effects, which>uckland (1!!!) suggests Cconstitute u& to !" &er cent of the work of the s&ecial effectsindustry0 and 0are not meant to be noticed (as s&ecial effects) by film s&ectators0# and visibles&ecial effects, or those s&ecial effects which &roduce some wondrous, fantastic, out/of/this/world creation that &roduces the *owD That can0t be real reaction from s&ectators and

audiences.

The digitally created dinosaurs in Eurassic 7ark (1!!3) or the sto&/motion action/s&ectaclese6uences in The atri (1!!!) are two eam&les of this. 2owever, Titanic (1!!) is anecellent eam&le of a film that is most remembered for its visible digital s&ecial effects,namely in the form of the good shi& itself, but which is actually saturated in moments ofinvisible s&ecial effects, whether it be the seamless simulation of outham&ton ocks, thewaves the audience see crashing against the vessel, or com&uterised &assengers walking onthe decks as the shi& sails away into the distance.

uch is the growth in B9 that it constitutes a ma


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Diital "inema Is 'or The Phantom

Menace contains almost 2%%% diital-e''ects shots ?et ucas too, the diiti@ation o' The

Phantom Menace a ste) 'urther Durin its )remiere in the summer o' $999 a 'e! sho!ins

!ere diitally )ro*ected Audiences !ere ama@ed at the outstandin audio and the clarity and

0rihtness o' the )ictures The d-)ro*ectors )er'ormed !ell 0ut the technoloy must come

do!n in )rice 0e'ore its im)ro&ed audio and &isual )resentation reaches a mainstream

audience 6Scienti'ic American No&em0er 2%%%8

; Diital distri0ution

5ourth is the de&elo)in use o' diital distri0ution @ using the 9nternet to transmit @and ehibit new film releases. The cost of making &rints, coordinating ehibition schedulesand distributing them to individual theatres (across the globe) is etremely e&ensive.o&yright is also a &roblem with &iracy a common feature of &rint distribution as it is, so thema


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the com&leity of image and light, it a&&ears that scratches dust and 'adinas a result o' ha&in 0een

e1)osed reularly to 0riht lihtall reduce the :uality o' the )resentation =&en 0e'ore !earand tear ,ic,s in !hat !e are !atchin may !ell 0e a third eneration co)ya )rocess similar

to ma,in a )hotoco)y o' a )hotoco)y !here some o' the oriinal de'inition is ine&ita0ly lost

Some e1)erts 0elie&e that Diital cinema !ill o&erta,e the :uality o' the 0est con&entional

cinema !ithin the ne1t year or t!o and at the same time address ae-old industry )ro0lems

Prints are 0ul,y and their manu'acture distri0ution and e1hi0ition are la0our intensi&e and

there'ore e1)ensi&e 4hat+s more in a !orld increasinly concerned !ith the im)act industry

has on the en&ironment it is hard to *usti'y the use o' a technoloy 6'ilm manu'acturin8 !hich

in&ol&es a hihly to1ic )rocess !hen a cleaner alternati&e is a&aila0le

6ased on the information collected in 8ovember $"", it was estimated that the im&act of7iracy on the film industry is:

inema: Mm (M1"$m in $"")

Hetail (5ilm%T): M$'m (M3""m in $"")

Hental (5ilm%T): M'm (M$m in $"")

ownload (5ilm): M'3m (M1'm in $"")

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Fevels of &iracy are relatively stable, although over the longer term there is clear evidence ofa continued, gradual decline in &hysical &iracy digital

&iracy levels a&&ear to increase year/on/year and overall&iracy levels are now at 3$K of the &o&ulation (vs. $!Kin $"").

A re&ort &ublished in arch $""! found that somestraightforward ste&s to tackle film &iracy would increase=L economic out&ut by M1+ million and &rotect the


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4hat are the im)lications 'or "inema in the 2$st"entury

inema as an institution has survived several threats to its life. ost notably, it was&redicted that television would make it etinct, but cinema survived by securing cinemareleases &rior to T broadcast and because of its social, 0night out0 contet. Fater, the Hseemed to have &ut a bigger nail in the coffin, but this time cinemas redefined themselves asmulti&lees, offering a broader 0leisure e&erience0 on an American model, together with theemergence of the 0blockbuster0 and its associated e&ensive marketing.

es&ite multi/channel television offering viewers the o&&ortunity to download films towatch at their convenience, hard drive recording, s&ecialist film channels that are nowrelatively chea& to subscribe to or free to air and online rentals making the visit to the local>lockbuster unnecessary, cinema still survives (though >lockbuster wonJt).

o the 6uestion isGwill cinema always survive technological change, or is the latesttechnology a bigger threat because it is at the ehibition end of the chainN *hereas the

changes in accessibility given above are to do with distribution, the &leasure of the filmice&erience is determined greatly by the si-e and 6uality of the screen.

2ollywood films in &articular are still largely driven by s&ectacle and noise, as well ascharacter and narrative (&erha&s with an eye to the &reservation of the cinema bo office),and &eo&le still want to see these films on the biggest screen with the loudest sound.

IMA

9A; combines a hori-ontally run"mm film with screen si-e as

large as 1""ft 'ft. The screenitself is slightly curved and withseating arranged in closer

&roimity, the screen imagewashes over the audience. Thissensory e&erience is etendedthrough the develo&ment ofhemis&herical screens(?mn9A;), 3 9A;, wherethe C30 glasses that are wornrender the image (film) three/dimensional, and howscan, whichcombines the large/screen formatwith synchronised, moving and tilting seats in the auditorium. &ectators no longer


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9n summary, digital effects/based cinema su&&osedly sounds the death knell for narrativecinema, &roducing an aesthetic that relies on the visual, the s&ectacular and the theme &arkride. 9ts visual aesthetic, then, ultimately ties it to the &hiloso&hical idea that the modernworld is lived and e&erienced in a culture of sight.

2 The =nd o' American Studio DominationE

9t can be reasoned that digital and com&uter mediated communication technologies have theca&ability to democratise the &rocesses of film/making and to challenge%change the wayfilms are &roduced, distributed and ehibited, undermining American studio domination ofthe film/making &rocesses. The argument runs as follows:

5irst, digital film/making technology enables a new generation of first/time film/makers toe&lore the &otentialities of film without the need for (very) e&ensive e6ui&ment, or forhighly s&ecialised skills that take years of training to master. 5or eam&le, the >ritishdirector hane eadows0 first two films (*here0s the oney, HonnieN and malltime, both1!!) came out of his e&loration of the video%digital version of the medium, inde&endent of

film school training.

The s)ectrum o' 0udets 'or diital mo&ies is &ery !ide The Star 4ars )re:uels are 0ein shot

!ith hih-de'inition cameras and cost more than $%% million ars &on Trier+s latest diital

'eature Dancer in the Dar, cost a0out $3 million ther esta0lished directors ha&e made

diital 'eatures in the 2- to H-million rane includin Mi,e Fiis 6Time "ode8 S)i,e ee

6Bam0oo@led8 Many no&ice 'ilmma,ers ha&e directed 'irst 'eatures 'or less than $%%%% Some

ha&e e&en 0een made 'or under $%%% Shot !ith a consumer diital &ideo camera on a 9%%

0udet the thriller The ast Broadcast is in home &ideo and tele&ision distri0ution in the US

and a0road

Scienti'ic American 6No&em0er 2%%%8

econd, com&uter mediated communication technologies such as the 9nternet have &rovidedthese new inde&endent digital film/makers with a distribution%transmission s&ace thatre6uires little investment to use, and which circumvent the normal (&ublic0 distribution andehibition sites for film (which are dominated by the American studios). A film made on a camera can then be edited at home, on a so&histicated domestic software &ackage, andthen sold, rented or given free to 9nternet distribution com&anies to stream on/line.

Third, digital technology o&ens u& the way film tets are viewed and interacted with, sincethe digital image can be &layed around with again once it has left the 0author0. *ith digitaltechnology, film endings can be re/written, agreed on 0communally0, have multi&le storylines,

or sim&ly a&&ro&riated by viewers who can reconfigure their structure and look. 5oream&le, the Om interactive feature The arkening (1!!) was released on /H?,enabling audiences to navigate their own way through a multi/layered and o&en/endednarrative. As 7aul chrader (1!!) observes:

%%%digital images are manipulatable) not only by the artists but also by the viewer%

Digital image and sounds can be altered% sounds and images can be added to a

recording) digital images can be broken up) colorised) morphised%

9n short, digital and telecommunications technology have the &otential to &luralise anddecentralise the way films transmitted, and are &roduced and financed, distributed%transn

read0 by interactive audiences.

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3 The Death o' "inemaE

The most a&ocaly&tic answer to the 6uestion of the effect of digitalisation and com&utermediated communication technologies on film has been to suggest that reel (celluloid) film isin a state of terminal decline and will in effect very 6uickly become an anti6uated way tomake films. The argument runs that because digital is chea&er, the image that it &roduces is

more robust and yet more mani&ulative%fleible, and it is easier to use, film/makers willabandon celluloid altogether in the digital age. The sense of a &otential loss here is great. 9t isargued that celluloid &roduces a &articular ty&e of moving image that re&resents action,drama, landsca&es, etc. in &articularly charged ways. *ith the death of celluloid comes thede/skilling of the industry as a range of &rofessional roles are taken u& by those who barelyknow (or need to know) how to hold a camera or measure light or frame a scene 0&ro&erly0.The very nature of the democracy im&lied by digital film/making is that anybody, no matterhow ine&erienced, can make a film.

5urther, with the &otential digitalisation of cinemas, and the increasing use of the 9nternet tostream videos, the theatres where reel film can be shown are likely to diminish in numbers

until they become mere museum &ieces.


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&hysical celluloid is re&laced by the digital image, then the total cinematic e&eriencebecomes one based on simulation and artifice.

Ne! "reati&e )tions on the Diital Set - n a 'ilm set the camera is rollin only a small

)ercentae o' the time 0ecause o' the e1)ense o' stoc, and )rocessin and the amount o' time

re:uired to liht and set u) each shot n a diital set the camera is recordin a much reater

)ercentae o' the time Directors o'ten use t!o cameras somethin that is una''orda0le on mostcon&entional 'ilm sets And 0ecause diital &ideo )roduction o'ten necessitates a streamlined

a))roach to cre! and e:ui)ment the resultin aesthetic choices 're:uently ma,e lihtin

sim)ler and less time consumin This lets 'ilmma,ers !or, !ith actors in !ays that !ould 0e

im)ossi0le on 'ilm Directors can shoot rehearsals ca)turin ins)ired moments that !ould

other!ise ha&e 0een lost

Scienti'ic American 6No&em0er 2%%%8

aardly cinema at last starts to em0race diital

The sil&er screen is slo!ly chanin 'rom celluloid to diital )rints

5rom The Times / Eune $3, $""

98 T24 headlong rush to digital, cinema has lagged behind, at least until now. >ut a big&ush from film studios, distributors and the 5ilm ouncil finally heralds the death ofcelluloid on the big screen and its re&lacement by digital technology. 9t took the = filmstudios three years to agree on a standard digital cinema model G so as not to findthemselves in a 2 versus >etama or 2 versus >lu/ray scenario. >ut a decisionwas finally reached in Euly last year and a $""/&age document com&iled that set out the &lan.

inemas have lagged behind other media, mainly because of the &rice of installing digital

e6ui&ment. 2owever, these costs have come down shar&ly, making a digital future more

feasible than ever.

2oward Liedaish, chief eecutive of Arts Alliance edia, a &rovider of film distribution

services, says: P8ot only is digital cinema visually better, but it is chea&er to &roduce and can

be used time and time again without getting damaged, unlike the celluloid model.Q

r Liedaish has calculated that

installing digital facilities at every

=L screen, of which there are

3,+, would cost the industry

about M",""" &er cinema, or

M$"!.$ million in total. 2owever,

he says, it would take ritish cinemas to &ay

this off through the significant cost

savings that would be achieved.

The average cost of a celluloid

&rint is about M'", while a digital

co&y costs more like M1$'. Taking

into account that there are 1,!"

&rints in >ritain each year, r

Liedaish estimates the annual cost

savings in this country alone to be

almost M+' million.

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2owever, more eciting to film/makers such as of Beorge Fucas and 7eter Eackson are the

visual &ossibilities. 8o more will celluloid &rints have to be &assed from cinema to cinema,

and get damaged on the way, ultimately affecting the clear, cris& &icture necessary to give

full visual im&act.

PThe 6uality of digital 3 cinema is far better than analogue. Rou donJt get sore eyes and it

will be taken more seriously by film &roducers,Q says r Liedaish, adding that there iss&eculation that &lans are being hatched to create 3 digital versions of 3ord of /he 4ings

andStar arsin the net few years.

igital could also change the day/to/day use of the cinema. Already the few digital cinemas

that eist in the =L are showing live *orld u& football because it is &ossible to &lug a set/

to& bo into a digital &rout there are 6uirkier ideas on how the cinema could be used.

PA 7laytation $, for eam&le, could be &lugged in to the digital &roelgian cinema

chain Line&olis has also used digital cinema to demonstrate an eye o&eration to trainee

doctors.Q

>ut it was one of these o&&ortunities that &rovoked the 5ilm ouncil to invest M11.' million

to convert $+" >ritish cinemas to digital. The 5ilm ouncil has different ho&es of what it

intends to achieve from its digital initiative.

9t has signed a contract with a number of mainstream cinemas and will fund their conversion

to digital in echange for access to s&ecialist films. *ith the lower cost of digital &rints,

cinemas can more readily afford to take risks and buy more arthouse films.

eanwhile, the large cinema chains, such as ?deon and ue, are in talks with the American

studios to invest themselves. The 6uestion is how fast the cinemas can get the necessary

funding. As televisions get bigger and chea&er and and video/on/demand release datesget closer to cinema release dates, cinemas need to start &romoting themselves as striking

multimedia e&eriences if they are to remain as &o&ular as they were in the &ast.

A&atar> chanin the 'ace o' 'ilm 'or e&er

A&atar is the +ame-chaner+ that insiders ha&e 0een !aitin 'or

5orget the dialogue. on0t get tooworked u& about the &lot. aught in3 at Fondon0s bfi 9A; @ the largestcinema screen in the =L @ Eamesameron0s+vatar is a gob/smackingsensory wow, setting an immediatenew benchmark for the blockbuster.ameron0s aim with this long/in/gestation sci/fi e&ic is to show off whatdigital 3 can do. And anyone withhalf an interest in what the future of

film might look like is going to want tosee it.

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This certainly e&lains why the 9A; at *aterloo @ &erha&s the only known answer to the6uestion S*hen is a cinema also a roundaboutN @ is swam&ed with as much human trafficright now as 2arrods on hristmas 4ve. Advance bookings have broken global records for asingle screen: at the 9A; alone,+vatar already had +,+ ticket sales (a gross of morethan M"",""") a day before it o&ened.

emand for the film is such that this cinematic ecca hardly shuts u& sho&. 4ven thescreenings at 3.+"am are &roving to be a sell/out. S9t0s mind/blowing,S says ennis Faws, thecinema0s affable general manager, who has worked in the field of 3 &ro


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isn0t

g 322 film in the digital age

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