Digital cinema

The Routledge Companion to Philosophy and Film

Volumn , Issue , 2008, Pages 75-85

  Gaut, Berys ^a  

^a UNIVERSITY OF ST ANDREWS   (United Kingdom)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 77954467034     PISSN: None     EISSN: None     Source Type: Book    
DOI: 10.4324/9780203879320-13     Document Type: Chapter

References (23)

1. Binkley, T. (1997) “The Vitality of Digital Creation,” Journal of Aesthetics and Art Criticism 55: 107-16.
2. Gaut, B. (1997) “Film Authorship and Collaboration,” in R. Allen and M. Smith (eds.) Film Theory and Philosophy, Oxford: Oxford University Press.
3. Gaut, B. (forthcoming) A Philosophy of Cinematic Art, Cambridge: Cambridge University Press.
4. Jackson, P. (dir.) (2004) The Lord of the Rings (extended DVD version). (See esp., “The Taming of Smeagol,” appendix 3; “Visual Effects” on MASSIVE, appendix 6.)
5. Jackson, P. (dir.) (2006) King Kong, Disc 2, 2006: Post-Production Diaries, esp., “Bringing Kong to Life: I & II.”
6. Kerlow, I. (2004) The Art of 3D Computer Animation and Effects, 3rd ed., Hoboken, NJ: John Wiley.
7. Livingston, P. (1997) “Cinematic Authorship,” in R. Allen and M. Smith (eds.) Film Theory and Philosophy, Oxford: Oxford University Press.
8. Lopes, D. (1996) Understanding Pictures, Oxford: Oxford University Press.
9. Lopes, D. (2001) “The Ontology of Interactive Art,” Journal of Aesthetic Education 35: 65-81.
10. Lopes, D. (2004) “Digital Art,” in L. Floridi (ed.) The Blackwell Guide to the Philosophy of Computing and Information, Oxford: Blackwell.
11. McKernan, B. (2005) Digital Cinema: The Revolution in Cinematography, Postproduction and Distribution, New York: McGraw-Hill.
12. Mitchell, W. (1992) The Reconfigured Eye: Visual Truth in the Post-Photographic Era, Cambridge, MA: MIT Press.
13. Monaco, J. (2000) How to Read a Film, 3rd ed., New York: Oxford University Press.
14. Poole, S. (2004) Trigger Happy: Videogames and the Entertainment Revolution, New York: Arcade Publishing.
15. Prince, S. (1996) “True Lies: Perceptual Realism, Digital Images, and Film Theory,” Film Quarterly 49: 27-38.
16. Reprinted in L. Braudy and M. Cohen (eds.) Film Theory and Criticism, 6th ed. (New York: Oxford University Press, 2004).
17. Rafferty, T. (2003) “Everybody Gets a Cut: DVDs Give Viewers Dozens of Choices - And That’s the Problem,” New York Times Magazine (4 May): 58, 60-1.
18. Reprinted in N. Carroll and J. Choi (eds.) Philosophy of Film and Motion Pictures (Oxford: Blackwell, 2006).
19. Saltz, David. (1997) “The Art of Interaction: Interactivity, Performativity, and Computers,” Journal of Aesthetics and Art Criticism 55: 117-27.
20. Savedoff, B. (1997) “Escaping Reality: Digital Imagery and the Resources of Photography,” Journal of Aesthetics and Art Criticism 55: 201-14.
21. Tavinor, G. (2005) “Videogames and Interactive Fiction,” Philosophy and Literature 29: 24-40.
22. Walton, K. (1984) “Transparent Pictures,” Critical Inquiry 11: 246-77.
23. Waters, R. (2005) “Hollywood Sees Power Shift from Film-set to Desk-top,” Financial Times (20 June): 16.