COSMOPOLIS Questionnaire

COSMOPOLIS Questionnaire

RIESE Questionnaire

RIESE Questionnaire

THE JOURNALS OF KNUD RASMUSSEN Questionnaire

THE JOURNALS OF KNUD RASMUSSEN Questionnaire

AMERICAN MARY Questionnaire

AMERICAN MARY Questionnaire

THE HOBBIT Questionnaire

THE HOBBIT Questionnaire

 

DIGITAL CINEMA IN TRANSITION

Welcome

Digital Cinema in Transition aims to map the production and reception of film storytelling in the digital economy, in Canada and beyond. The project identifies how film producers apply digital media in their creation of cultural works for theatrical and on-line distribution. The project also defines how audiences, in Canada and across the world, engage digitally with these media, especially through mobile communication with other viewers and users in on-line environments.

we aim to map the production and reception of film storytelling in the digital economy

Film storytelling is facing challenges across its entire entertainment value chain. Under pressure of digital technologies that transform conditions of all stages of production filmmakers are increasingly creating cultural works that transcend traditional forms of artistic expression. Digital technology allows for crowdsourcing, for radically new visualizations, for location shooting under difficult environmental circumstances, and for serial narratives or fan-rooted fiction that circumvent traditional distribution channels by using the Internet, social media, and digital festivals as platforms for exposure and consumption.

filmmakers are increasingly creating cultural works that transcend traditional forms of artistic expression

Digital Cinema in Transition analyzes in detail the production and reception of five case studies:

AMERICAN MARY (Jen and Sylvia Soska, 2012) – the ‘twisted twins’ turn from fans to pros with a medical horror film that is a remarkable hit on the genre festival and social media circuits.

COSMOPOLIS (David Cronenberg 2012) – from Canada’s top director, featuring one of the digital era’s biggest stars (Robert Pattinson), this film is an example of digital art cinema.

The HOBBIT (Peter Jackson, 2012-2014) – a large-scale blockbuster at the forefront of digital cinema– through its special effects and camera technology, as well as in its attraction of widespread fan fiction and transmedia storytelling.

The JOURNALS OF KNUD RASMUSSEN (Zacharias Kunuk, 2006) – An indigenous production that combines traditional storytelling with digital production technology, to sustain extreme shooting conditions.

RIESE (Kaleena Kiff, Ryan Copple, 2009) – An independently financed and executed Vancouver-based web series, shot digitally and watched exclusively on the web.

these case studies will provide a wealth of information

We hope these case studies will provide a wealth of information on how Canadian and global filmmakers alike are seizing the opportunities the new logistics, aesthetics, distribution, marketing, and viewership that the digital era offers.

Digital Cinema in Transition is led by Ernest Mathijs and Doris Baltruschat at the University of British Columbia, and funded by the Social Sciences and Humanities Research Council of Canada.

the goal is to build a valuable knowledge base for filmmakers, scholars, and viewers

The goal of Digital Cinema in Transition is to build a valuable knowledge base for filmmakers, scholars, and viewers, and to provide the basis for a larger, multi-year research project that includes a comprehensive study of emerging media ecologies and collaborations across industries between Canada and the rest of the world.


website design by linda fenton malloy