幻化流形：後電影時代的數位活動影像

Abstract

The emergent digital era has pushed a significant question –– what is cinema? –– in a new and interesting direction. For the first time in the history of film theory, the photographic process has been challenged as the fundamental basis of cinematic representation. For 150 years, the material basis of photography and film has been defined by the mechanical recording of (moving) images via the reflection of light on a sensitive chemical surface. Additionally, the representational natures of photographic and filmic media were deduced from the basic photographic or cinematographic processes. However, today's digital processes have replaced analogue representations and forced a fundamental transformation in virtual representations based on the manipulation of data. To this extent, this paper attempts to examine the essence and substance of moving images in the post-cinematic era by applying the discourses of Lev Manovich, D. N. Rodowick, Thomas Elsaesser and Malte Hagener from a contemporary point of view.