The Cinema Effect

The MIT Press, ISBN 0262033127 The element 'magic' of cinema, namely the still image that suddenly you 'soul', as described in the report of the first screenings of Lumiere still there today, in the rooms, monitors, in the hiring of cassettes and DVD as in the exchange of files compressed in divx equal in networks. The mechanisms of fascination of moving images have changed over time, but remains unassailable that illusory continuity of action which hypnotizes our sense of reality. The 'fragmentation', at the base of the author's thesis, it goes against the assumptions of continuity and narravità, emphasizing the pixel as an element of discontinuity of the image, the installation as a practice of sequencing of moments and frame separated, and the 'carrier' , as a transition from the object to its concise representation. The film, therefore, is based on what Jacques Aumont calls the 'movement of the eye'. And if, for example, in the rhetoric of industry, "the emphasis is increasingly on 'credibility' than by verisimilitude", enslaving the narrative to the 'magic' tout court, as pointed out by the author, in the analysis of simulation of reality expressed by the screen are sublimated some of the features of the trials conducted over time (as you can study in the exposition Future Cinema , for example) to the parallel conceptual and technological advances that create an interesting flow of ideas applied to the narrative in spatial and temporal 'span of a century of the medium' film '.