Author(s): Erik Marshall
Journal: Ilha do Desterro
ISSN 0101-4846
Issue: 51;
Start page: 301;
Date: 2008;
Original page
Keywords: This essay explores changes in concepts of realism and spectatorship in the digital age. With digital technology | images no longer bear witness to reality in the same way envisioned by theorists such as Andre Bazin | and a new model of spectatorship must f
ABSTRACT
This essay explores changes in concepts of realism and spectatorship in the digital age. With digital technology, images no longer bear witness to reality in the same way envisioned by theorists such as Andre Bazin, and a new model of spectatorship must follow this loss of indexicality. The digital rotoscoping technique employed in Richard Linklater's /Waking Life/demonstrates this split between reality and image, in part by preserving the real beneath an entirely created artistic surface. This essay explores changes in concepts of realism and spectatorship in the digital age. With digital technology, images no longer bear witness to reality in the same way envisioned by theorists such as Andre Bazin, and a new model of spectatorship must follow this loss of indexicality. The digital rotoscoping technique employed in Richard Linklater's /Waking Life/demonstrates this split between reality and image, in part by preserving the real beneath an entirely created artistic surface.
Journal: Ilha do Desterro
ISSN 0101-4846
Issue: 51;
Start page: 301;
Date: 2008;
Original page
Keywords: This essay explores changes in concepts of realism and spectatorship in the digital age. With digital technology | images no longer bear witness to reality in the same way envisioned by theorists such as Andre Bazin | and a new model of spectatorship must f
ABSTRACT
This essay explores changes in concepts of realism and spectatorship in the digital age. With digital technology, images no longer bear witness to reality in the same way envisioned by theorists such as Andre Bazin, and a new model of spectatorship must follow this loss of indexicality. The digital rotoscoping technique employed in Richard Linklater's /Waking Life/demonstrates this split between reality and image, in part by preserving the real beneath an entirely created artistic surface. This essay explores changes in concepts of realism and spectatorship in the digital age. With digital technology, images no longer bear witness to reality in the same way envisioned by theorists such as Andre Bazin, and a new model of spectatorship must follow this loss of indexicality. The digital rotoscoping technique employed in Richard Linklater's /Waking Life/demonstrates this split between reality and image, in part by preserving the real beneath an entirely created artistic surface.
