But if film has been abandoned by the movie industry (e.g. ![]() The digital, after having established itself as a production system, has squared the circled, in the cinema industry, through the screening. We are not merely dealing with the advent of new technical-scientific paradigm, but with its ability to spread across a relevant part of the economic system and renovate it, transforming society in all its aspects. The historical significance of the transformation brought about by the digital “revolution” can be compared to the one elicited by innovations like the railway and electricity. The transformation is not merely confined to the advent on the market of a new generation of products and services: it has so impacted every sector of the economy, that it has modified costs’ structure and production and distribution terms alike. Six years later cinema was fully digitalized, but the language of film criticism has remained virtually unchanged.Ģ013 has been the year of the “triumph” of digital cinema, an upshot of a farther-reaching “technological revolution” that has marked the beginning of the XXI century. At the time I was still rather fresh from a university degree course in film studies that was largely, if not entirely, based on textbooks using a terminology that was light-years far from actual, hands-on film-making. In 2007, when I started my collaboration with Digicult and writing for Digimag, I discussed with its editor, Marco Mancuso, about what could be the areas of intersection between digital art and cinema. ![]() « B arring doors to ideas is useless, they will climb over them» – Klemens von Metternich
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