Chapter

Digital Technologies and the Poetics of Performance

Bruno Lessard

in New Punk Cinema

Published by Edinburgh University Press

Published in print May 2005 | ISBN: 9780748620340
Published online September 2012 | e-ISBN: 9780748671052 | DOI: http://dx.doi.org/10.3366/edinburgh/9780748620340.003.0007
Digital Technologies and the Poetics of Performance

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Utopian and dystopian discourses have accompanied the rise of digital techniques of cinematic production and post-production. While some directors, film critics and spectators have found that digital technologies have already reshaped cinema, others offering a more temperate, almost Luddite perspective, believe that digital technologies have not brought substantial changes and will not modify the cinematic experience as we know it. This chapter proposes a more balanced approach to the use of digital technologies in contemporary films, bearing in mind that Utopian and dystopian positions are complementary rather than mutually exclusive. It discusses how digital media have refashioned production and post-production techniques, and illustrates the argument using Mike Figgis's Time Code, which is perceived, among other new punk films, to be the most sustained engagement with digital technologies.

Keywords: digital technology; film production; Mike Figgis; Time Code; new punk films

Chapter.  5052 words. 

Subjects: Film

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