By Wheeler Winston Dixon
They are shot on high-definition electronic cameras—with computer-generated results additional in postproduction—and transmitted to theaters, web content, and video-on-demand networks all over the world. they're seen on computing device, iPod, and cellular phone monitors. they're videos within the twenty first century—the fabricated from electronic applied sciences that experience revolutionized media construction, content material distribution, and the event of moviegoing itself.
21st-Century Hollywood introduces readers to those international variations and describes the decisive roles that Hollywood is taking part in in choosing the electronic destiny for global cinema. It deals transparent, concise reasons of a massive paradigm shift that maintains to reshape our dating to the relocating snapshot. choked with quite a few designated examples, the e-book will either teach and entertain movie scholars and film fanatics alike.
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Additional info for 21st-Century Hollywood: Movies in the Era of Transformation
It is impossible to hold back the ﬂood of images created by these technologies, as recent events in Iran in 2009 have demonstrated; and in the 21st century, these images will both inform and enlighten our social discourse, along with tweets, texts, and other communicative iterations. While the big-screen spectacle will continue to ﬂourish, a plethora of image constructs now compete for our attention, often with a signiﬁcant measure of success. The monopoly of the television networks is a thing of the past; who is to say that theatrical distribution as we know it will not also be transformed into a different sort of experience altogether?
But also in this mix of images are clips from movies beloved by fans, if not canonized by critics, that in many cases come to stand for the entire ﬁlm, which contemporary viewers don’t seem to have the time to view. When Ingmar Bergman died, there was a ﬂurry of postings of brief segments from some of his most famous ﬁlms as a sort of tribute to the departed ﬁlmmaker; Michelangelo Antonioni also received several similar tributes, all citing supposedly “key” moments from his work as selected by YouTube’s viewer/participants.
145) This same sort of “re-evaluation of the material shown” is now taking place on a much larger scale, larger than nearly anyone could have conceived of even 5 years ago. Film is disappearing, but in its place a new platform has emerged, which can comfortably support all previously existing formats. As with all such previous technological shifts in moving image study and production, a host of new aesthetic and 19 21 ST -CENTURY HOLLYWOOD practical considerations thus sweeps to the fore. Is a digital copy of a ﬁlm still a ﬁlm?