What is Cinema?
Manovich starts the chapter off explaining that the first five chapters of the book were used to frame and develop the relationships between cinematic technologies and new media. He uses the chapter to structure lists compiled from the former five and reiterate the content. The first list includes informational reference points and examples of “computer techniques in traditional filmmaking” and reminds the reader of the movies that utilized the theory, like Titanic’s 3d computer animation and digital composition. He continues to list other types of computer based cinema and eventually brings us to the second list. The second list includes the breakdown of acronyms discussed and made use of in “new media”. He reminds us of HTML code, JPEG, and GUI.
Summing up the previous chapters, we have learned how to decipher and determine new media, what the language means, the history of the media we use today, illusions within cinema and animation, composting and teleaction, and all of these topics are layered into the climax: cinema.
Even though this fact seems relatively simple, Manovich reminds us (or informs us) video or moving images are just still frames. Video acts as a replacement for animation and or still frame and combines those into this somewhat, new media technology. Obviously, cinema has been positively impacted by the incorporation of computerization, from 3D and digital animation, to the idea that cinema wants to create or recreate a simple video recording of reality. Cinema attempts to show its audience a video, free of any blatant editing. He also points out that traditional film making has been revolutionized by digital media, a change that continues to grow and require more technology every day.
We learn in the principles of filmmaking that the line has become blurred between actual filmed works and created works. Interestingly, at one point in the history of cinema editing, special effects were done by different people in different spaces, and now these jobs have combined into one. We learn about looping, and alternatives to traditional spatial montage, cinematic temporal montage; “replacing its traditional sequential mode with a spatial one.”
The book ultimately delves into an extremely detailed academic explanation of media and all of the conceptual ideals, theories, and practices we know today. This book represents a convergence of digital academic thinking and has taught us how to reflect upon modern-day advances, with a touch of the inception and history. Reading Manovich may be challenging; however, the content is valuable and insightful.