The impact of digital technologies on the production and consumption of moving images 2007-2016
Abstract
The critical commentary for this DPhil by publication analyses and explains the relationships between over 150 research outputs comprising artefacts and artworks, journal articles, book chapters and online resources produced between September 2007 and September 2016. These outputs are organised into four portfolios that have a roughly chronological order to show the central developments in my research. Each portfolio contains a complete list of outputs, a guide to the key outputs that best exemplify those developments and a detailed critical commentary.
Portfolio 1, High Definition Video and Experiences of Immediacy and the Environment, investigates the capture of images of the immediate environment and the effects of projection and display of those images on familiar objects close to us domestically.
Portfolio 2, High Resolution Motion Images and the Iconic Image, investigates the production of images of the wider environment to establish if the use of higher resolutions can refresh and deepen audience engagement, with a particular focus on iconic images.
Portfolio 3, Images of High Resolution Portraiture, examines whether increases in resolution of life-sized moving image portraiture increases audience engagement.
Portfolio 4, Understanding Digital Cinematography, comprises a series of online resources, traditional text-based resources, plus engagements with professional research communities, using Higher Dynamic Range research (HDR) as the locus of investigation and knowledge exchange.
The starting point for the DPhil was my award in 2007 of an AHRC Creative Research Fellowship:
‘High Definition Imaging: An Investigation into the Actual, the Virtual and the Hyper Real’.
This examined how the advent of high-resolution digital imaging might change the nature of the work produced, its immersive properties and consequently the audiences’ engagement with that work. This was the first and, so far, the only practitioner-led investigation of high definition imaging. In 2007, film was the primary capture and display technology of contemporary cinema and television. The end point, September 2016, is determined by Data Cinematography rather than film becoming the primary form of capture and display of contemporary cinema and television.
NEXT: Aims of the Commentary and Organisation
Portfolio 1, High Definition Video and Experiences of Immediacy and the Environment, investigates the capture of images of the immediate environment and the effects of projection and display of those images on familiar objects close to us domestically.
Portfolio 2, High Resolution Motion Images and the Iconic Image, investigates the production of images of the wider environment to establish if the use of higher resolutions can refresh and deepen audience engagement, with a particular focus on iconic images.
Portfolio 3, Images of High Resolution Portraiture, examines whether increases in resolution of life-sized moving image portraiture increases audience engagement.
Portfolio 4, Understanding Digital Cinematography, comprises a series of online resources, traditional text-based resources, plus engagements with professional research communities, using Higher Dynamic Range research (HDR) as the locus of investigation and knowledge exchange.
The starting point for the DPhil was my award in 2007 of an AHRC Creative Research Fellowship:
‘High Definition Imaging: An Investigation into the Actual, the Virtual and the Hyper Real’.
This examined how the advent of high-resolution digital imaging might change the nature of the work produced, its immersive properties and consequently the audiences’ engagement with that work. This was the first and, so far, the only practitioner-led investigation of high definition imaging. In 2007, film was the primary capture and display technology of contemporary cinema and television. The end point, September 2016, is determined by Data Cinematography rather than film becoming the primary form of capture and display of contemporary cinema and television.
NEXT: Aims of the Commentary and Organisation
Moving Image Arts Research is concerned with exploring the histories, theories, technologies, cultures and politics of moving image art production, interaction and reception.
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