Film-Philosophy 17 (1):265-280 (2013)

Authors
Rafe McGregor
Edge Hill University
Abstract
The purpose of this paper is to examine the ontological effects of digital technology, and determine whether digital films, traditional films, and pre-traditional motion pictures belong to the same category. I begin by defining the parameters of my inquiry, and then consider the two most significant consequences of the new technology. §2 proposes a decisive refutation of the causal relationship between reality and photography. §3 identifies an end to the dominance of photorealistic film over animation, and argues for an inversion of that relationship, whereby animation is paramount. Finally, I consider the implications of these consequences for film ontology, compare theories, and conclude in favour of Berys Gaut, for whom digital film is the latest incarnation of a history of moving pictures that stretches back for centuries
Keywords photography  Berys Gaut  ontology  representation  motion picture  digital
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DOI 10.3366/film.2013.0015
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References found in this work BETA

Photography and Representation.Roger Scruton - 1981 - Critical Inquiry 7 (3):577-603.
The Illusion of Realism in Film.Andrew Kania - 2002 - British Journal of Aesthetics 42 (3):243-258.
On the Nature of Photography.Rudolf Arnheim - 1974 - Critical Inquiry 1 (1):149-161.

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