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Like television, film is also trying to absorb and repurpose digital technology. As we have mentioned, digital compositing and other special effects are now standard features of Hollywood films, particularly in the action-adventure genre. And in most cases, the goal is to make these electronic interventions transparent. The stunt or special effect should look as "natural" as possible, as if the camera were simply capturing what really happened in the light. Computer graphics processing is rapidly taking over the animated cartoon; indeed, the take- over was already complete in Disney's Toy Story. And here too the goal is to make the computer disappear: to make the settings, toys, and human characters look as much as possible like live-action film.
Like television, film is also trying to absorb and repurpose digital technology. As we have mentioned, digital compositing and other special effects are now standard features of Hollywood films, particularly in the action-adventure genre. And in most cases, the goal is to make these electronic interventions transparent. The stunt or special effect should look as "natural" as possible, as if the camera were simply capturing what really happened in the light. Computer graphics processing is rapidly taking over the animated cartoon; indeed, the take- over was already complete in Disney's Toy Story. And here too the goal is to make the computer disappear: to make the settings, toys, and human characters look as much as possible like live-action film.
Source type: pictureInfo: Toy Story - a film produced by Pixar Animation Studios
Original size: 1280x720 px. Edit
Source type: pictureInfo: Toy Story - a film produced by Pixar Animation Studios
Original size: 1280x720 px. Edit
Source type: pictureInfo: Toy Story - a film produced by Pixar Animation Studios
Original size: 461x258 px. Edit
Unlike our other examples of hypermediacy, this form of aggressive remediation does create an apparently seamless space. It conceals its relationship to earlier media in the name of transparency; it promises the user an unmediated experience, whose paradigm again is virtual reality. Games like Myst and Doom are desktop virtual reality applications, and, like immersive virtual reality, they aim to inspire in the player a feeling of presence.
Unlike our other examples of hypermediacy, this form of aggressive remediation does create an apparently seamless space. It conceals its relationship to earlier media in the name of transparency; it promises the user an unmediated experience, whose paradigm again is virtual reality. Games like Myst and Doom are desktop virtual reality applications, and, like immersive virtual reality, they aim to inspire in the player a feeling of presence.
Unlike our other examples of hypermediacy, this form of aggressive remediation does create an apparently seamless space. It conceals its relationship to earlier media in the name of transparency; it promises the user an unmediated experience, whose paradigm again is virtual reality. Games like Myst and Doom are desktop virtual reality applications, and, like immersive virtual reality, they aim to inspire in the player a feeling of presence.
Unlike our other examples of hypermediacy, this form of aggressive remediation does create an apparently seamless space. It conceals its relationship to earlier media in the name of transparency; it promises the user an unmediated experience, whose paradigm again is virtual reality. Games like Myst and Doom are desktop virtual reality applications, and, like immersive virtual reality, they aim to inspire in the player a feeling of presence.
Source type: picture