Cinema in the Digital Age


Dirk Schulz
> On Interactive Television
A Pragmatic Approach

Looking back at the history of expanded broadcast Schulz explores problems and chances of recent techniques like Video on Demand, MHP and digital VCRs.

Birk Weiberg
> Silence of the Talking Heads
On close-ups and decapitations

This short history of the close-up from D.W. Griffith to Al-Qaida illustrates that as the faces are disappearing the heads are returning.

Tim Jaeger
> Nano-Thought / Nano-Media

Modern communication is organizing itself into a number of different forms, but is optimizing itself in one that combines all aspects of text, video, and audio. Jaeger refers to sciences' topics and their influence on new media from SMS to digital cinema.

Jan Speckenbach
> On the Remake. A cinematic phenomenon.
Part Two. Rewriting, Remembering, Mechanising, Historising, Forgetting.

The significane of the remake lies in its medium. No other art has produced an exact analogy to it. Though, the remake seems to call cinema into question: Being a kind of paradigm of filmproduction, it leaves the logic of reproducing and performing arts behind.

Jan Speckenbach
> On the Remake. A cinematic phenomenon.
Part One. Money, Copy, Quotation, Motive, Genre.

The remake has a rather paradoxical disposition. It needs not to be inventive but must be dissimilar. An attempt for an aesthetical discussion of the remake.

Gerhard Schumm
> Notes on Digital Film Editing

Digitial editing tools seems to offer unlimited possibilities for the working process. But their permanent presence and importunity disrupt the handling of the material. Although you scarcely realise it, they promote a technocratic understanding of editing.

Birk Weiberg
> What is the Digital Revolution? Part One

The term of a Digital Revolution is associated with such different topics like Star Wars, Blair Witch Project, Dogma 95, DV, DVD and DivX. The text tries to structure the discussion and has a look at how DV and the internet change low budget production.

Jan Speckenbach
> Match Frame and Jump Cut
A dialectic theory of montage in the digital age

Nothing is only technical in cinema. Match frame and jump cut, for instance, can be considered as the basics of the audiovisual language.

Birk Weiberg
> Beyond Interactive Cinema

Interactivity has long been seen as a logical development driven by new technologies and the demand for realism. But how can interactivity change traditional cinema?