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But such a language, despite having widespread cur- rency, is also a language that is inherently ephemeral, leaving a series of impressions that have more tangible currency than the fragile lm stock on which they are xed. Even con- temporary television is embracing this new viral culture, most notably Al Gores Current Television network, which debuted on August 1, , and consists for the most part of viewer-created content, often with a denite Leftist political stance, in the form of pods, or short videos of anywhere from 4 to 10 minutes in length, on average, making it perhaps the rst television cable network in which viewers are actu- ally genuine participants. It's either a bruising allegory for real-world torture or an irredeemable trip to the far end of exploitation. As critic John Horn noted, Bay has never been a critics favorite, but the thrashing he received for Transformers: Revenge of the Fallen was the worst of his eight-lm ca- reer. For Bay, Transformers: Revenge of the Fallen succeeds because it appeals to the kid in all of usits a wish-fulllment movie.
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They are viewed on laptop, iPod, and cell phone screens. It offers clear, concise explanations of a major paradigm shift that continues to reshape our relationship to the moving image. Filled with numerous detailed examples, the book will both educate and entertain film students and movie fans alike.
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Table of Contents Acknowledgments 1. The Digital Century 2.
Constructing an Audience 3. The Globalization of the Moving Image 4. The New Auteurs 5.
21st-Century Hollywood: Movies in the Era of Transformation [Wheeler Winston Dixon, Gwendolyn Audrey Foster] on leacounsubccon.tk *FREE* shipping on. There can be no doubt that the digitization of the moving image has radically and irrevocably altered the phenomenon that we call the cinema and that the.