Future Cinema

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

Question relate to Augmented Human and Chris Marker’s Immemory also a question for previous week

Augmented Human the book propose new ways of extending our senses, but more importantly to me–means to interact with digital content. While reading chapter 6 “Storytelling and the human imagination” of the book, I can’t help but think about Chris Marker’s work “Immemory”. As a hypertext document of sense memories made in late 90s, I wonder how storytelling conventions propose in chapter 6 of “Augmented Human” can reimagine the project using new technologies that immerse the audience in virtual environment or project digital content through touchable objects.

Also i just remember that I forget to post a question for week 7’s reading, and since it’s a little related to this week and the last couple of week’s content, I’m gonna to post it below:

the chapter “The crisis of cinema in the age of new world memory: The baroque legacy of Jean-Luc Godard” from “Digital Baroque” strikes as particularly interesting–partially due to my academic interest in Jean Luc Godard’s body of works and my curiosity as to how a French new wave filmmaker’s aesthetic would overlap with Baroque aesthetic to reshape digital media of the future.

In this chapter, the concept of “fold” is not only relate to “shortening” Time-image of digital content but also relate to “shortening” of production process of such content. After readingt his chapter, I can see how Godard’s experimental usage of time, space and image as well as the hyperselective quality of baroque art can both be used to disrupt and re-define the narrative model of “future cinema” or “new media” of the future. However, would such re-definition and disruption would bring crisis to cinema and ? or would it simply allow us to explore quality of narrative model in cinema that we thought don’t exist?

Wed, November 29 2017 » Future Cinema