Recent developments in network culture suggest a weakening of hierarchical narratives of power and representation. Online technologies of distributed authorship appear to nurture a complex, speculative, contradictory and contingent realism. Yet there is a continuing deficit where the moving image is concerned, its very form appearing resistant to the dynamic throughputs and change models of real-time interaction. If the task is not to suspend but encourage disbelief as a condition in the user, how can this be approached as a design problem? In the attempt to build a series of design projects suggesting open architectures for the moving image, might a variety of (pre-digital) precursors from the worlds of art, architecture and film offer the designer models for inspiration or adaptation? A series of projects have been undertaken. Each investigates the composite moving image, specifically in the context of real-time computation and interaction. This arose from a desire to interrogate the qualia of the moving image within interactive systems, relative to a range of behaviours and/or observer positions, which attempt to situate users as conscious compositors. This is explored in the thesis through reflecting on a series of experimental interfaces designed for real time composition in performance, exhibition and online contexts.

The work offered for this PhD by Published Works charts the history of cinema exhibition in Britain from the late 1950s to the present. At the start of this period, cinemagoing as a form of public entertainment entered a long period of decline that was only arrested with the development and growth of multiplex cinemas in the 1980s and 1990s. Despite these changes, the feature film itself remained a culturally and commercially valuable artefact, though increasingly this meant the Hollywood film. Whilst due consideration is afforded to the technological changes in cinemas and the cinema apparatus, my work places the development of cinemagoing in a broad social, economic, cultural and political context, and explains how these issues impact upon on-going developments. In the late 1950s, cinemagoing declined partly in response to changing leisure habits, demographic shifts, the growth of consumer culture, television, and the widespread adoption of new broadcast technologies like home video and satellite. The multiplex returned feature films to cinemas, but was a definitively American commercial form closely associated with new forms of leisure and out-of-town retailing. There are also parallels between the context for development of the multiplex in the USA – suburbanisation, shopping malls and reliance on the motorcar – and developments in Britain in the last 30 years. To this end there is a specific emphasis on the development of the multiplex cinema as part of a wider narrative about the re-positioning of cinemagoing as a collective, public form of visual entertainment, in the period from the mid-1980s, in the context of some dramatic changes in the transient nature of capitalism and urban planning. From the early 1990s onwards there was a growing anxiety about the impact of out-of-town developments on Britain’s urban centres, and a concomitant and renewed emphasis on the importance of the urban core rather than the edge. Thus, the key to understanding the evolution of cinema exhibition today is to pay particular attention to urban planning as inherently ideological, shifting and changing in line with broader political, economic and social considerations.

Orientador: Marcelo Magalhães Bulhões / Banca: Mauro de Souza Ventura / Banca: Laura Loguercio Canepa / Resumo: O presente trabalho pretende elucidar os mecanismos que negaram a perspectiva linear por meio da distorção da imagem no cinema de Alexandr Sokurov. A partir da teoria da Dobra de Deleuze e dos preceitos da Perspectiva Inversa de Pável Floriênski, serão analisadas obras pictóricas, que vão do Barroco, passando pela Bauhaus, chegando até Francis Bacon. Tais obras entrarão em sintonia com a filmografia de Sokurov utilizando o termo da "distorção elástica", pressupondo um deslocamento não-espacial e temporal-não-linear através da análise fílmica e estética das obras. A adaptação de Fausto de Goethe realizada pelo cineasta russo em 2012, será o elemento condutor ao elucidar o trânsito imagético do suporte analógico para o digital e suas potencialidades estéticas de subversão à perspectiva linear. / Abstract: The present work intends to elucidate the mechanisms that denied the linear perspective inherited from Ancient Greece and emphasized in the Renaissance period, to undergo the process of distortion of this mechanism of representation. From the theory of Deleuze's Dobra and the precepts of the Inverse Perspective of Pável Floriênski, will be analyzed pictorial works, ranging from the Baroque, passing, by the Bauhaus, reaching Francis Bacon. Such works will be in tune with the filmmaking of the Russian Filmmaker Alexandr Sokurov using the term "elastic distortion", presupposing a non-spatial and non-linear displacement through the filmic and aesthetic analysis of works. Goethe's Faust's adaptation by the Russian filmic and aesthetic analysis of works. Goethe's Faust's adaptation by the Russian filmmaker in 2012 will be driving element in elucidating the imaginary transit from analog to digital support and its aesthetic potential from subversion to linear perspective / Mestre

Where are cinemas going? Are they an evening out, a festive occasion, something of a 'luxury' when compared to the parallel availability of television? Are we looking at fewer cinemas, with more advanced technical standards, itself again a reflection of urban reorganization? Are cinemas changing to a means of education like the IMAX that shows a variety of documentary films? Or are cinemas going to fade out to make place for the comfort and ease of the cinema in your own living room? The goal of the project is to design a cinema centre that is original and offers the user a new and exciting experience. The cinema is based on the film and information technology industry especially new and future technological trends. The main focus, however, is the user's experience through the space and how it can be enhanced through the use of technology. The aim is to create a sense of voyeurism, which exemplifies the user's experience in the cinema auditorium and in the rest of the building by creating passing glipmses, which combine activity and object. The cinema centre will provide a space of invention, innovation and experience. / Dissertation (MInt(Prof))--University of Pretoria, 2007. / Architecture / unrestricted

Já está completamente consolidada nas cadeias de produção cinematográfica uma esperada \"transição para o digital\". Porém a exibição propriamente dita de filmes na forma digital nas salas de cinema só foi padronizada em 2005, e a mudança ganhou força somente na década de 2010. Essa digitalização da exibição cinematográfica foi incorporada de forma transparente para a maioria dos espectadores de cinema, apesar de suas intricadas especificações técnicas e arranjos econômicos de viabilização das trocas dos equipamentos. Ao mesmo tempo, as tecnologias digitais também proporcionam cada vez mais facilidade para que filmes possam ser assistidos fora das salas de cinema, colocando-as de fato em cheque quando olha-se para o futuro. Este trabalho discute o processo de digitalização da exibição e distribuição cinematográficas, traçando algumas perspectivas sobre por que, mesmo com a digitalização, permanecerão existindo as salas de cinema. É particularmente interessante que, em meio a essa desmaterialização do suporte da cópia, sobressaia exatamente a materialidade que sobrou, a do próprio espaço e disposição da exibição, o espectador na sala de cinema. Essa permanência é apoiada em dois eixos principais. Inicialmente, o fundamental papel econômico das salas nas receitas que movimentam todas as diferentes camadas da produção de filmes. O segundo eixo é do caráter bastante único da imersão presente na sala de cinema. Esta imersão especial, por sua vez, está fundamentada nas características físicas e técnicas dos equipamentos nas salas, que evoluíram para aproveitar diferentes aspectos da percepção humana em seu âmbito individual e coletivo. Combino características tecnológicas dos padrões adotados, elementos da economia do cinema, estudos da percepção e intenções do espectador e resultados recentes da psicologia experimental que corroboram o caráter bastante particular da experiência de assistir a um filme na sala de cinema e indicam sua continuidade. / The long foretold \"transition to digital cinema\" is already running full steam as far as the acquisition and post-production chains are concerned. However, for digital film exhibition, there has only recently, in 2005, been an agreed upon standard, decided by the major distributors, and the actual upgrades only gained momentum in the early 2010s The digitization and change of materiality of cinema exhibition and distribution, although of great interest to professionals, academics and critics, has been incorporated in a more or less transparent way for the majority of moviegoers, despite their intricate technical specifications and economic arrangements between the various economic parties that enabled equipment to be purchased. It is particularly interesting that, in the midst of this dematerialization of the film\'s physical form, what stands out is precisely the remaining tangibles, the very space and disposition for the exhibition, and the spectator in the theater. This work examines the digitalization of cinema exhibition and distribution technologies, tracing some future perspectives on what remains in a digital cinema. I combine technical specifications of the standards imposed by distributors, some elements of the economy of cinema, without which any speculation becomes exclusively theoretical; and some data from audience and spectator studies focusing on their perception, wishes and intentions, the puzzlingly often-forgotten part of the film studies, for there is no cinema without a spectator. In order to do so I present some recent results of experimental psychology that endorse the rather unique aspects of watching a movie in the movie theater, and its importance beyond the historical.

Digitalization is the process of making digital everything that can be digitised to change a business model and provide new revenue and value-producing opportunities. However, difficulties exist in evaluating the value created by digital technology investments in organisations, industry structures, economies and society, at large. My dissertation illustrates how the distinct characteristics of digital technologies are implicit in an evolution from stable to fragile product innovation; while highlighting the need for a dynamic approach to entrepreneurial innovation within national innovation systems. The foundations for my work are bound up in the digitalization of value networks, and the context for this research is digital cinema - a process that began in 2000. Digital cinema offered a new value proposition to distributors and significant cost reductions for the US studios. With a reliance on a highly developed value chain to protect intellectual property, these studios sought to learn from the disruption digitalization caused to the music industry, by cultivating digital technology as an, incremental innovation, in replacing celluloid with bytes to project content to cinema audiences. Global digital cinema penetration in 2014 stood at 90 per cent of the total screen footprint. The dissertation assesses features of this digital rollout that have been under-explored; including the role digital technology has assumed in process and product innovation; and, the behavioural responses of both incumbents and new entrants during the diffusion and adoption phase. My dissertation is supported by eight published papers, which highlight the need for domestic policymakers to focus their attention on emerging entrepreneurial innovations; the utilisation of current knowledge and strategies for novel solutions in order to strengthen their respective national innovation systems. Taken together they help explain the creation, diffusion and adoption of digital cinema, explore the new content creation opportunities they support, and explain how three nations in particular have sought to innovate and reorientate themselves in relation to these novel phenomena. The wider implications of the findings of the project build on the innovation literature in examining the diffusion, adoption and knowledge acquisition during the rollout of digital cinema technology. These findings suggest a radically different reading of both disruptive innovations and national innovation systems than has been offered in previous accounts, viewing the digital cinema rollout as a case study of an increasingly mobile sector, in which technological factors retreat in importance behind entrepreneurial innovation as a key driving force in reaching audiences. Finally, in exploring the phenomenon of the digitalization of value networks I have made a significant contribution to knowledge in the design of an innovative mixed method; specifically in the area of field research - a qualitative data collection method designed for considering, observing, and interacting with individuals in their natural environments. Over time, I have established that digital cinema was capable of delivering novel supply and demand solutions - starting with a few unrelated scraps of data, through the establishment of personal networks with communities of practice (in the UK, US & Norway) to building rich, and complex quantitative data sets capable of measuring the entire diffusion and adoption phase of the digital cinema rollout, right across Europe.

This paper addresses many concepts and concerns related to the previously underexplored topic of CGI and narrative in Hollywood children’s films. Through an analysis of scenes from Harry Potter and the Philosopher’s Stone, The Chronicles of Narnia, The Golden Compass, The Spiderwick Chronicles, and Inkheart it demonstrates that CGI spectacle does not exist in opposition to narrative progression as some scholars have suggested. Instead, by drawing on theorists like Lefebvre and Furstenau (2002), this investigation asserts that belief in fictional realism is paramount to spectatorship. It is shown that CGI can be used in a way that respects realism in the Bazin tradition and continuity editing in order to allow the spectator to believe in the fictional reality of narrative events. This belief is then connected to the emotional engagement of the spectator by drawing on ideas from Smith’s (1994) structure of sympathy. The ultimate goal of this paper is to present a conceptualization of CGI that creates a stronger distinction between reality and film realism than previous literature has suggested.

This paper addresses many concepts and concerns related to the previously underexplored topic of CGI and narrative in Hollywood children’s films. Through an analysis of scenes from Harry Potter and the Philosopher’s Stone, The Chronicles of Narnia, The Golden Compass, The Spiderwick Chronicles, and Inkheart it demonstrates that CGI spectacle does not exist in opposition to narrative progression as some scholars have suggested. Instead, by drawing on theorists like Lefebvre and Furstenau (2002), this investigation asserts that belief in fictional realism is paramount to spectatorship. It is shown that CGI can be used in a way that respects realism in the Bazin tradition and continuity editing in order to allow the spectator to believe in the fictional reality of narrative events. This belief is then connected to the emotional engagement of the spectator by drawing on ideas from Smith’s (1994) structure of sympathy. The ultimate goal of this paper is to present a conceptualization of CGI that creates a stronger distinction between reality and film realism than previous literature has suggested.

This paper addresses many concepts and concerns related to the previously underexplored topic of CGI and narrative in Hollywood children’s films. Through an analysis of scenes from Harry Potter and the Philosopher’s Stone, The Chronicles of Narnia, The Golden Compass, The Spiderwick Chronicles, and Inkheart it demonstrates that CGI spectacle does not exist in opposition to narrative progression as some scholars have suggested. Instead, by drawing on theorists like Lefebvre and Furstenau (2002), this investigation asserts that belief in fictional realism is paramount to spectatorship. It is shown that CGI can be used in a way that respects realism in the Bazin tradition and continuity editing in order to allow the spectator to believe in the fictional reality of narrative events. This belief is then connected to the emotional engagement of the spectator by drawing on ideas from Smith’s (1994) structure of sympathy. The ultimate goal of this paper is to present a conceptualization of CGI that creates a stronger distinction between reality and film realism than previous literature has suggested.

This thesis analyzes the current transition to digital cinema projection technologies within the film exhibition business. I begin by discussing two historical cases of technological change in film exhibition technology, and I identify the corporations that successfully controlled periods of technological change in order to solidify their position atop the film industry. In drawing from these historical case studies, I examine the current transition to digital cinema projection technologies by discussing the structure of the film exhibition business and identifying those exhibitors that are controlling the transition to digital cinema. I find that the top three exhibitors - Regal Cinemas, AMC Entertainment, and Cinemark - are controlling digital cinema through two joint ventures: Digital Cinema Implementation Partners (DCIP), and National CineMedia (NCM).