Lev Manovich

MOVING IMAGE AFTER COMPUTERIZATION -  
EXTENDING TRADITIONAL ELEMENTS OF CINEMA

(2003)

   
1. FRAME / CAMERA / SPACE
   
panoramic cinema / "total" recording  
   	QTVR, ipix, etc. 
	Jeffrey Shaw (EVE; Place: a User Manual; Panosurround Camera)
   	Luc Courchesne
  
   
 hybrid space: combining best features of 2D lens based and 3D synthetic representations
	3-D compositing: film/video mapped into surfaces positioned in a virtual space; 
virtual camera moves through this space
		Christian Boustani/Alain Escale: Brugge, Viagem
	film/video recordings embedded within virtual space
		Jachim Sauter/ARCT+COM, Invisible Shape of Things Past (1997), computer sets for "The Marlowe, The Jew of Malta" (2002)
		Fujihata, Field-Work@Alsace 
   


2. IMAGE

"velvet revolution" in moving image culture (1985-1995)
 
new visual aesthetics of moving images:
   
	If we define a digital moving image as compositing of various elements created/modified via diffirent methods

		live action + 
		image processing + 
		2-D animation + 
		3-D animation + 
		typography + 
		generative/procedural image construction + 
		2D graphic design / motion graphics + 
		filters applied to any of the above + 

	we can define a number of visual aesthetics in contemporary moving image culture depending on which method dominates, for instance:

		live action (most feature and short film/video)

		typography - "motion graphics" ("typographic cinema"): typography becomes an image (After Effects)
		 3D computer animation  (Final Fantasy, 2001; children 3D animated cartoons)
  
   		2D graphic design + generative/procedural image construction (graphical music videos using shockwave / Flash - see schockwave.com; algorithmic abstract animation; "Generation Flash") 

	we can also single out certain sensibilities/styles based on privelleging a few of the methods, for instance   
   		"Post-Flash cinema":  Web designers bringing their aesthetics to short films: 
			uses stylilised live action, 2D animation, 3-D animation (flat planes, vectors) + typography, but with 2D graphics design as the the dominant code
   
  		
   
   		   
   
New imaging / recording techniques:  infrared, web cams, GPS, etc. 
		Financial TV programs
		contemporary information workspaces
		CNN television coverage of the war
   		Jordan Crandal 
   		Haron Farocki
		
   
   



   
   
 3. EDITING / TIME / NARRATIVE 

	"continuos" cinema (Timecode, Russian Arc) - from montage to very long takes
   
 	database cinema (database + metadata + algorithmic contruction)
		Stan Douglas
		Klein/Kratky/Comella, Bleeding Through: Layers of Los Angeles, 1920-1980

		Florian Thalhofer - Korsakow Syndrom, Love Story Project
			www.LoveStoryProject.com
		Sebastian Campion, interactive documentary for Danish Film Institute
		switching.dk
		Michael Lew (Media Lab Dublin)
			www.mle.ie/~michael/research/voodoo
		www.thickspace.net
		Thompson/Craighead, Short Films About Flying
		
		

	spatial image - a single image broken into a number of frames
		Gance Abel
		Peter Greenaway
		Mike Figgis
		recent TV programs
		

	spatial image - multiple images positioned in space
		1960s "expanded cinema"
		Gary Hill
		Eija Liisa Ahtila
		Doug Aitken
		Wilson Twins
		club culture

	real-time improvisation/generation
		1960s-1970s video synthesizers / processors
		242 Pilots
		VJ culture