
The author addresses the evolution of filmmaking from the early years to the 21st century. The argument is on how information technology has transformed the way viewers experience narratives and images while watching different movies. Advancement in technology gives the spectators powers to control both the image and storylines with an unexpected pleasures such that the viewers are lost in the film and experience the episodes as their own (Sobchack). The author postulates that with the integration of technology into filmmaking, viewers have new ways of experiencing the images of the cinema. Additionally, the hidden stillness of the movies comes to light making it visible and accessible. The computer system has made it possible for anyone to understand the individual frame and the film’s kept secrets easily, accurately, and effectively.
The angle of approach
This book is a historical exploration of the role new media technology is giving to old cinemas by re-evaluating the history of films and their usefulness. New technologies give the viewers the ability to control both the image and story (Sobchack). Viewers are capable of repeating the episodes, they can do slow motions on sections of the film, and even free-frame the film (Mulvey, 147). This adventure makes spectators have an excessive and irrational devotion or commitment to continue watching. Further, the capacity of the viewers to manipulate the film images gives the cinema materials some aesthetic traits.
Evaluating the breadth or scope of the argument
Although this book is talking about the film industry, the author’s narration of cinema’s psychic and social aspects of life covers the events and discoveries prominent with the twentieth all through to the twenty-first century. During this period of time, several ways of doing things or systems changed into new ways because of computer technology (Grant). Many fields, disciplines, socialization, and human interactions started embracing information technology. The film industry was not left behind and the cinemas began integrating new technology. The book covers the aspects of classic visual pleasure and narrative film enabled by the digital spectrum which opens up other viewing positions of cinemas. The narrative captures the history of cinema indicating the “death” of traditional movies onto the birth of digital age films.
There are case studies that have reinforced the argument that technology has revolutionized the film industry. For instance, about fifty years back, filmmakers had to assemble a full crew to be able to record movies; in cases where they needed aerial shots, they had to use aircraft mounted with cameras that were even heavier. Once the filming was over, editing was done physically by cutting and pasting the film together (“The Impact of Technology in the Film Industry”). The process was long and difficult and the quality of work was very poor. Technology took over in the late 20th century with the introduction of lighter cameras which capture clear and quality images. The synchronization of clouds has made editing of films much easier to an extent that filmmakers can work in collaboration from any part of the world. For the viewers it’s no longer a must they go to the theatre to watch movies because on-demand, streaming services, computers, tablets, and smartphones have allowed them to watch the movies whenever and wherever they wish.
Technology is used effectively in filmmaking through computer-generated graphics to produce special effects in the cinema business. This method is cheaper than the physical techniques because it employs computer software instead of creating physical settings to generate images. For example, in 1973, ‘Westworld’ film was created using computer-generated pictures (Sharma). This fictional movie included both robots and real people; other cases are like the iconic film ‘Star Wars’ and ‘Star Trek II’ which had effects such as laser weapons and robotic motions. Then there is also the use of animation and three-dimensional (3D).
The connections the author draws across ideas and evidence presented
In this book, the author draws several ideas linking the past and the present to demonstrate changes over time. In the introduction the book explains the technological advances between the 1970s all through to early 2000s; that in the 70s the films were always seen in rooms and were projected on frames. Then to the current changes dark spaces to self-directed viewing on DVDs or videos. Further, in old days the films were characterized by delays which technology has replaced with aspects like creating slow motions, editing, and freeze-frame which gives the viewer an excellent experience (Mulvey, 144). In chapter 1 of the book, “Passing Time,” there is a clear explanation about the relationship between past or early cinema and the new technological age films. It comes out that technology makes it possible for the 21st-century viewer to be able to use imitation of an indexical image. To get the feeling of a similar stake of wonders like those who viewed the same cinema before technology integration.
Strengths of the argument
Comparing the stillness and technology in relation to the evolution of cinemas, the modern concept of films transformed the movie adventure by creating delays which makes it easy for spectators to evaluate the film. Now the digital mechanisms work on the films by delaying the movements, it is also capable of fragmenting the movie and even rewinding the film (Thompson). Meaning technology has total a new paradigm in the film industry by a new way to pause, initiate delays, and repetitions that were not applicable to projectors. In addition, the ability to pause the film can span the viewers into a position from which they can distinguish the indexicality of the image and its historical nature (Thompson). This mechanism is very important for analyzing politics and using the film to help close the gap especially in the modern-day world which tends to focus on things happening at present.
Weaknesses of the argument
The aspect of stillness and the moving image places the film actors within a context of unnatural fusion between the human body and the machine. The power to control the flow of the cinema through constants stops in between, creating delays and replaying the movie several times, could lead to spectators being too possessive. Technology has given the viewers’ power to dominant the film actors (Thompson). They develop an excessive attachment to the image that was once only possible with the help of external assistance such as production stills or calendar images. Another weakness of the technological argument is a case example of television programs, which enhances the stillness of films by fragmenting the whole film into several episodes which can be viewed over several periods of months.
Conclusions
This book is a historical exploration of the role new media technology is giving to old cinemas as it re-evaluates the history of films and their usefulness. The author’s narration of cinema’s psychic and social aspects of life covers the events and discoveries prominent with the twentieth all through to the twenty-first century. The book covers the aspects of classic visual pleasure and narrative film enabled by the digital spectrum which opens up other viewing positions of cinemas. The narrative captures the history of cinema indicating the “death” of traditional movies onto the birth of digital age films. In the introduction the book explains the technological advances between the 1970s all through to early 2000s; that in the 70s the films were always seen in rooms and were projected on frames. Then to the current changes dark spaces to self-directed viewing on DVDs or videos.
It comes out that technology makes it possible for the 21st-century viewer to be able to use imitation of an indexical image. To get the feeling of a similar stake of wonders like those who viewed the same cinema before technology integration. The ability to pause the film can span the viewers into a position from which they can distinguish the indexicality of the image and its historical nature. However, the power to control the flow of the cinema through constants stops in between, creating delays and replaying the movie several times, could lead to spectators being too possessive. Additionally, technology has given the viewers’ power to dominate the film actors. Lastly, technology makes the audience develop an excessive attachment to the image that was once only possible with the help of external assistance such as production stills or calendar images.