Future Cinema

Course Site for Future Cinema 1 and Future Cinema 2: Applied Theory at York University, Canada

Question on database and narrative

Eventhough interactive database films can be accessed simultaneously by many people, each user generates their own unique experience/narrative by interacting with the piece. What are the implications of this on collective viewing?

Thu, November 23 2017 » Future Cinema » No Comments » Author: Daniel

Narrative/Database Question for the day

Manivoch pointed out in the article that “Database becomes the centre of the creative process in the computer age”. He argues that narratives in media are inherently derived from database. To me, he sees construction of narrative as a process in which artists and authors synthesize “data”: ideas, content etc. However, this process of creation of narratives have been around before the age of computer. Does Manovich uses the term “database” to draw attention to how narratives in digitized media content are constructed? Or does he simply uses a word created in the age of computer to understand a process that always existed?

Wed, November 22 2017 » Future Cinema » No Comments » Author: yolanda

For David (and everyone else because Borges is awesome)

The Aleph
http://web.mit.edu/allanmc/www/borgesaleph.pdf

The Library of Babel; An Examination of the Work of Herbert Quain; Pierre Menard, Author of Don Quixote
http://anthonywarnick.com/fms/week15/Borges,_Jorge_Luis_-_A_Collection%20_in_English.pdf

Wed, November 22 2017 » Future Cinema » No Comments » Author: Marko Djurdjic

Database and Narrative

Database and narrative can be described as dots and line, line and shape, ingredients and end-products, colour and painting, or pixels and images. I also think of the relation similar to fashion; individual items (e.g. socks, shoes, jacket, shirt) and style. The concept of database and narrative seem to have been present in our pre-computer world in our minds. New media technologies have enabled to manifest the dual existences in the form of media work.

How can our own databases consisting of our experience and knowledge be affected by new sets of databases and narratives introduced by media? As we increasingly familiarize ourselves with multiplicity and accept it as a part of our media consumption, how does it change or does not change our view toward conventional Hollywood-type narrative plots which still prevalent?  Will it be obsolete? Do we become more critical?

Wed, November 22 2017 » Future Cinema » No Comments » Author: kyokoma

Question (or is it a rant?) for today

In terms of Man with a Movie Camera Manovich writes, “Records drawn from a database and arranged in a particular order become a picture of modern life – but simultaneously an argument about this life, an interpretation of what these images, which we encounter every day, every second, actually mean.”

With personal photos, there was a ritual: you take photos, you remove the film, careful not to expose it to light, and take it to a store to get developed. You wait at least an hour to see the photos, after having waited possibly hours to finish the roll. You take your photos out, and you place them in an album. Or you distribute them. Maybe you got two sets to give to your friends. In a world oversaturated with images, sharing one photo with dozens of people has lost some of the mystique of giving one photo to a specific person. Does a personal image lose meaning when it is over-distributed, or does it still hold the same reflexive, and reflective, power? For my birthday this year, two friends printed out photos from a trip, put them in frames and presented them to me as a gift. I proudly, and fondly, display them, and while others may look at them, they can never posses them. While an archive is, for the most part, an accessible database documenting a time or a story or a topic, these photos nevertheless become a personal archive, one rooted in my time. Manovich writes that watching Man with a Movie Camera “is anything but a banal experience,” and yet viewing page after page of photos of babies and trips and outings on Facebook or Instagram or any number of social media outlets renders some of these experience as trite, even mundane (do I sound bitter, perhaps?). And yet, while these may not have much significance past the poster, some archives that have more academic worth may not serve much of a purpose for 99.93% of the population!

While the things we own and keep can be argued in various ways—as a database, as an archive, as a collection—with varying levels of importance, we nevertheless put together a life through images, videos, trinkets, toys, and mementos. Thinking specifically about photos, I’ve often asked myself, why do we take pictures? Why do we collect them? And how often do we keep physical versions of these pictures? Why, for the most part, have we given up our own physical archive for an electronic one that may, in any moment, disappear completely?

Wed, November 22 2017 » Future Cinema » No Comments » Author: Marko Djurdjic

Yowza, visual sound???!?!!

https://www.wired.com/story/an-artist-uses-an-iphone-to-visualize-sounds-in-ar/?mbid=social_fb

Wed, November 22 2017 » Future Cinema » 1 Comment » Author: Marko Djurdjic

Defining Narrative

It seems to me that in many of this week’s readings (and Manovich’s in particular) the definition of ‘narrative’ is somewhat restricted, even anachronistic. Isn’t any time-based activity, in essence, a narrative?

Wed, November 22 2017 » Future Cinema » 1 Comment » Author: mtrommer

Question for LAST week’s class

I’m afraid that I was under the weather last week and only managed to catch up with the readings for the 15th over the last week. This post will have my question for that class; the question for this week’s readings are forthcoming. Sorry for the delay!

So… How does transmedia as an industrial practice operate in a transnational, globalized media world? In Convergence Culture: Where Old and New Media Collide, Henry Jenkins describes the Wachowski’s recruiting efforts for different components of The Matrix story world as a planet-spanning, border-crossing creative collaboration between artists who admire each other’s work. Jenkins even positions the Wachowski’s interest in transmedia storytelling as the end result of a “fascination with what anthropologist Mimi Ito has described as Japan’s ‘media mix’ culture” (Jenkins 112).

Does this description of “collaborative authorship,” initiated by influential Western filmmakers, accurately account for the power dynamics that still exist between American media companies and the Asian artists recruited for The Animatrix? If transmedia is inherently transnational, what does that mean for concepts of cultural appropriation or colonization?

Wed, November 22 2017 » Future Cinema » No Comments » Author: David

Questions for Today’s Class

Reading this week’s texts and in my studies in general, I am often struck by the conflation between the database, the archive, and memory. As such, I was wondering if we could discuss how the database differs from the archive and how they each function as metonyms for memory? How has database culture changed how we think about memory or how we remember?

- Theo X

Wed, November 22 2017 » Future Cinema » No Comments » Author: theox25

Thoughts on Manovich, Kinder, and Database Cinema…

Hi folks — since I’ll not be in class today, I thought I’d share a few thoughts in reaction to this week’s readings as a roundabout response to Slav & Shiyam’s discussion questions.
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Tue, November 21 2017 » Future Cinema, Manovich, database, interfaces, narrative » No Comments » Author: sRoberts