Why are filmmakers such as J.J. Abrams, Christopher Nolan and Quentin Tarantino continuing to shoot their movies on celluloid in the digital age of cinema? Are these filmmakers choosing the photochemical process of celluloid images purely for aesthetics purposes? Or could their preference for celluloid have something to do with analogue's intimate connection to the fragility of the human?
Capturing Digital Media: Drive and Desire in Contemporary Film and Television critically investigates the relationship between the perfection of the digital form and the imperfection of the human, and how this dichotomy is shaping aesthetic expression, spectatorship, subjectivity, and media ownership in recent cinema and television. Analysing Children of Men (2006), The Sopranos (1999-2007), Cloverfield (2008), End of Watch (2012), Looper (2012), Gravity (2013) and other recent films and television series, Capturing Digital Media claims that the necessity of imperfection is where we locate the human within the binary logic of the digital. But even as films and television series incorporate forms of imperfection, digital perfection remains a powerful attraction in our engagement with moving images, such as high definition screens, spectacular digital effects, and state-of-the-art sound.
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