[ecrea] new book: FILM IN THE POST-MEDIA AGE

FILM IN THE POST-MEDIA AGE, Cambridge Scholars Publishing, 2012.
Edited by Agnes Petho
ISBN (13): 978-1-4438-3753-8, ISBN (10) 1-4438-3753-9 (430 pages)

Ever since the centenary of cinema there have been intense discussions 
in the field of film studies about the imminent demise of the cinematic 
medium, endless articles championing the spirit of genuine cinephilia 
have proclaimed the death of classical cinema and mourned the end of an 
era, while new currents in media studies introduced such buzzwords into 
the discussions as “remediation” (Bolter and Grusin), “media 
convergence” (Jenkins), “post-media aesthetics” (Manovich) or “the 
virtual life of film” (Rodowick). By the turn of the millennium, the 
whole “ecosystem” of media had been radically altered through processes 
of hybridization and media convergence. Some theorists even claim that 
now that the term “medium” has triumphed in the discussions around 
contemporary art and culture, the actual media have already deceased, as 
digitized imagery absorbs all media. Moving images have entered the art 
galleries and new forms of inter-art relationships have been forged. 
They have also moved into the streets and our everyday life as a 
domesticated medium at everybody’s reach, into new private and public 
environments (and into a fusion of both via the Internet). Consequently, 
should we speak of an all pervasive “cinematic experience” instead of a 
cinematic medium? What really happens to film once its traditional 
medium has shape shifted into various digital forms and once its 
traditional locations, institutions and usages have been uprooted? What 
do these re-locations and re-configurations really entail? What are the 
most important new genres in post-media moving pictures? Is it the web 
video, is it 3D cinema, is it the computer game that operates with 
moving image narratives, is it the new “vernacular” database, the DVD, 
or the good old television adjusted to all these new forms? How does 
theatrical cinema itself adapt to or reflect on these new image forms 
and technologies? How can we interpret the convergence of older 
cinematic forms with an emerging digital aesthetics traceable in typical 
post-media “hosts” of moving images? These are only some of the major 
questions that the theoretical investigation and in-depth analyses in 
this volume try to answer in an attempt at exploring not the 
disappearance of cinema but the blooming post-media life of film.

Contents and introductory chapter can be downloaded from the publisher's 
website: 
http://www.c-s-p.org/Flyers/Film-in-the-Post-Media-Age1-4438-3753-9.htm


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