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What is the fate of cinema in an age of new technologies, new aesthetic styles, new modes of cultural production and consumption? What becomes of cinema and a century-long history of the moving image when the theatre is outmoded as a social and aesthetic space, as celluloid gives over to digital technology, as the art-house and multiplex are overtaken by a proliferation of home entertainment systems? offers an ambitious and compelling argument for the continued life of cinema as image, narrative and experience. Commencing with Lumiere''s Arrival of a Train at a Station , Bruce Isaacs confronts the threat of contemporary digital technologies and processes by returning to cinema''s complex history as a technological and industrial phenomenon. The technology of moving images has profoundly changed; and yet cinema materialises ever more forcefully in digital capture and augmentation, 3-D perception and affect, High Frame Rate cinema, and the evolution of spectacle as the dominant aesthetic mode in contemporary studio production.>
About the author
Bruce Isaacs is a Lecturer in Film Studies at the University of Sydney. He has published widely on film history and theory.
