Abstract
What is left for film studies if we strip away narrative, representation, and the
dominant practices of institutional cinema? Is there an essence or medium
specificity to study, or might we instead simply focus on the contingent
permutations that film and other media undergo, this time in the digital age?
Using the intertwined histories of film, cinema, and television, this paper
renders contingent their normative definitions and provides a way to rethink
their study in a time of transition.
dominant practices of institutional cinema? Is there an essence or medium
specificity to study, or might we instead simply focus on the contingent
permutations that film and other media undergo, this time in the digital age?
Using the intertwined histories of film, cinema, and television, this paper
renders contingent their normative definitions and provides a way to rethink
their study in a time of transition.
Original language | English |
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Pages (from-to) | 266-279 |
Journal | New Review of Film and Television Studies |
Volume | 12 |
Issue number | 3 |
DOIs | |
Publication status | Published - 2014 |
Keywords
- television history
- end of cinema
- digitization
- media studies
- media in transition