Film is often used to represent the natural landscape and, increasingly, to communicate environmentalist messages. Yet behind even todayas agreena movies are ecologically unsustainable production, distribution, and consumption processes. Noting how seemingly immaterial moving images are supported by highly durable resource-dependent infrastructures, The Cinematic Footprint traces the history of how the ahydrocarbon imaginationa has been central to the development of film as a medium. Nadia Bozakas innovative fusion of film studies and environmental studies makes provocative connections between the disappearance of material resources and the emergence of digital mediaawith examples ranging from early cinema to Dziga Vertovas prescient eye, from Chris Markeras analog experiments to the digital work of AgnAus Varda, James Benning, and Zacharias Kunuk. Combining an analysis of cinema technology with a sensitive consideration of film aesthetics, The Cinematic Footprint offers a new perspective on moving images and the natural resources that sustain them.Digital data is underwritten not only by the physicality of its hardware; the images digital cameras capture and store are by association ... As was the case of analog video in the 1960s and 1970s, the lower price point of digital technology ushers in not only greater access ... the restaafinds its contemporary equivalent in the digital camera; the capacity to erase and thus repair an image defines the digital asanbsp;...
|Title||:||The Cinematic Footprint|
|Publisher||:||Rutgers University Press - 2011-10-28|