The Disappearing of Cinema Aesthetics¡H ¢wOn the Breakthrough and Duration of Film Arts from Mechanical Reproduction to Digital Propagation
In this article, the conception ¡¨qu¡¦est-ce que le cinéma¡H¡¨ is set up as the initial point in order to reveal the core topic. As we know, the development of digital technology nowadays has raised the essential altering of inner and outer fields as to Film. At first, based on the research on film history, images and social environments, we attempt to figure out the possible revolution of technology, industries and aesthetics about the films. In addition, throughout the characteristics and construction of the inner and outer fields towards digital films, we offer the possibility of the postmodern turn on film aesthetics as well as the demonstration and strategies on social participation and democracy. Finally, we try to discuss the development of film aesthetics on le cinéma¢wen soi. Moreover, we acclaim that le-cinema-en-soi makes itself a becoming subject and gains the varieties of creation power to deconstruct Film ontology as well as the object/subject relationship between the public and the films.
Advisor:none; none; none
School:National Sun Yat-Sen University
School Location:China - Taiwan
Source Type:Master's Thesis
Keywords:film aesthetics image industries digital
Date of Publication:09/10/2007