Paper Example Doctorate 300 words

Film and Media in the Digital Age

Last reviewed: January 30, 2013 ~2 min read

Abstract

In this paper film and media in the digital age is discussed. Films in the Digital Age include 'worlds' that are highly imaginative (e.g. Harry Potter films). Films are sometimes conceived in a literary form and then turned into a script and a film. Films since the 1920s and into the 21st century have used physical models and stage properties of some kind (e.g. Metropolis, Blade Runner, 2001: A Space Odyssey and Harry Potter). In the digital age, visual effects are created by composite images and ongoing production techniques, practices and narratives.

¶ … digital age include worlds that are highly imaginative (eg. Harry Potter films). Films are sometimes conceived in a literary form and then turned into a script and a film. Films since the 1920s and into the 21st century have used physical models and stage properties of some kind (eg. Metropolis, Blade Runner, 2001: A Space Odyssey and Harry Potter). In the digital age, visual effects are created by composite images and ongoing production techniques, practices and narratives. Discuss.

What this question primarily conveys is the feasibility associated with the growing trend of using digital techniques in filmmaking. The importance of digitalization, computer generated imagery and visual effects, has grown tremendously and that can be proven with the help of various relevant examples. In the essay, the technological value added by digitalization along with the advantages and disadvantages of digitalization have been discussed. Finally the future of digital filmmaking is glimpsed through the success of exemplary movies.

BODY:

1. Technologically, the filmmaking process has evolved from traditional to digital means, which is shown by the concept of the 'Digital Workflow.'

2. The value added to a film by CGI or visual effects is critically undeniable and commercially indubitable.

3. Technologies used in 'Blade Runner' showcase the onset of the digitalization trend. Other examples discussed are those of 'Harry Potter', 'Avatar', 'Shrek' and '2001: A Space Odyssey.'

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References

9 sources cited in this paper

Bernard, Kaitlin. "Between Reality and Realism: CGI and Narrative in Hollywood Children's Films." Department of Communication, University of Ottawa, 2011.
Cubitt, Sean. "Avatar and Utopia." Animation: An Interdisciplinary Journal, 2012.
Dowd, Cate. Physical Propertes, Scale Models and Digital FX in Films. Melissa Read, 2013.
Eldin, Nawal Mohammad Salah. Visual Effects Cinematography: The Cinematographer's Filmic Technique From Traditional to Digital Era. College of Applied Sciences, Ibri: The Turkish Online Journal of Design, Art and Communication, 2012.
Hansley, Eliza. "A New Cinematic Aesthetic: The Effect of the Digital Revolution on the Construction of the 'Real'." 5pm Journal of Digital Research and Publishing, 2010.
Harrison, Chuck. "The Evolving Digital Workflow in Cinema." The Reporter 'The Window On Imaging', December 6, 2003.
Lehmann, Anne Sophie, and Karen Van Es. Hollywood Computer Generated Animation, The Attraction of the Immediate. Utretcht University, 2007.
Nofz, Michael P., and Phil Vendy. "When Computers Say It With Feeling: Communication and Synthetic Emotions in Kubrick's 2001: A Space Odyssey." Journal of Communication Inquiry, January 1, 2002.
Zwerman, Susan Charles. "The Visual Effects Producer: Understanding the Art and Business of VFX." 2010.

Bernard, Kaitlin. "Between Reality and Realism: CGI and Narrative in Hollywood Children's Films." Department of Communication, University of Ottawa, 2011.
Cubitt, Sean. "Avatar and Utopia." Animation: An Interdisciplinary Journal, 2012.
Dowd, Cate. Physical Propertes, Scale Models and Digital FX in Films. Melissa Read, 2013.
Eldin, Nawal Mohammad Salah. Visual Effects Cinematography: The Cinematographer's Filmic Technique From Traditional to Digital Era. College of Applied Sciences, Ibri: The Turkish Online Journal of Design, Art and Communication, 2012.
Hansley, Eliza. "A New Cinematic Aesthetic: The Effect of the Digital Revolution on the Construction of the 'Real'." 5pm Journal of Digital Research and Publishing, 2010.
Harrison, Chuck. "The Evolving Digital Workflow in Cinema." The Reporter 'The Window On Imaging', December 6, 2003.
Lehmann, Anne Sophie, and Karen Van Es. Hollywood Computer Generated Animation, The Attraction of the Immediate. Utretcht University, 2007.
Nofz, Michael P., and Phil Vendy. "When Computers Say It With Feeling: Communication and Synthetic Emotions in Kubrick's 2001: A Space Odyssey." Journal of Communication Inquiry, January 1, 2002.
Zwerman, Susan Charles. "The Visual Effects Producer: Understanding the Art and Business of VFX." 2010.

Bernard, Kaitlin. "Between Reality and Realism: CGI and Narrative in Hollywood Children's Films." Department of Communication, University of Ottawa, 2011.
Cubitt, Sean. "Avatar and Utopia." Animation: An Interdisciplinary Journal, 2012.
Dowd, Cate. Physical Propertes, Scale Models and Digital FX in Films. Melissa Read, 2013.
Eldin, Nawal Mohammad Salah. Visual Effects Cinematography: The Cinematographer's Filmic Technique From Traditional to Digital Era. College of Applied Sciences, Ibri: The Turkish Online Journal of Design, Art and Communication, 2012.
Hansley, Eliza. "A New Cinematic Aesthetic: The Effect of the Digital Revolution on the Construction of the 'Real'." 5pm Journal of Digital Research and Publishing, 2010.
Harrison, Chuck. "The Evolving Digital Workflow in Cinema." The Reporter 'The Window On Imaging', December 6, 2003.
Lehmann, Anne Sophie, and Karen Van Es. Hollywood Computer Generated Animation, The Attraction of the Immediate. Utretcht University, 2007.
Nofz, Michael P., and Phil Vendy. "When Computers Say It With Feeling: Communication and Synthetic Emotions in Kubrick's 2001: A Space Odyssey." Journal of Communication Inquiry, January 1, 2002.
Zwerman, Susan Charles. "The Visual Effects Producer: Understanding the Art and Business of VFX." 2010.