The Digital Secret of the Moving Image

Estetika: The European Journal of Aesthetics 51 (1):21-41 (2014)
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Abstract

This article addresses the definition of cinema by focusing on the related ontological question of which basic category circumscribes cinematic works. According to Noël Carroll, the definition of cinema consists both of ontological conditions that treat the moving image as a type and of other conditions that treat it as a display. But following Carroll’s ontological conditions, the digital encoding of a moving image enigmatically ends up being both a type and a token. Solving such a puzzle by clarifying the relation between the cinematic type and the digital type leads us to define the moving image in general as a type that specifies a spatiotemporal distribution of pixels

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Enrico Terrone
Università degli Studi di Genova

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References found in this work

A Philosophy of Cinematic Art.Berys Gaut - 2010 - Cambridge: Cambridge University Press.
Digital Pictures, Sampling, and Vagueness: The Ontology of Digital Pictures.John Zeimbekis - 2012 - Journal of Aesthetics and Art Criticism 70 (1):43-53.
The substance of cinema.Trevor Ponech - 2006 - Journal of Aesthetics and Art Criticism 64 (1):187–198.
Que reste-t-il du cinéma?Jacques Aumont - 2011 - Rivista di Estetica 46:17-31.

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