Digital Cinematography: from Index art to synthesys art
Cinematography; Digital; photography; hipermodernity.
Digital regimes transformed society in countless fields, in cinema it was no different. The present research recognizes that the cinematography in the digital age, to a large extent, aims to transpose to the new format all the potential and capabilities of the consolidated production regime that prevailed during a century of cinema. Many of the classic cinema procedures, production regimes, elements of style, are almost entirely preserved. This change of platform, from cellulose acetate to the digital sensor, is certainly not the object of interest of the present research. It is not the study of the maintenance of classical statutes or of media emulation solutions that
interests us. The question that justifies the present research is exactly the opposite: what phenomena, technological and stylistic, make digital cinematography unique? What parameters mark the ruptures, intensifications, and transformations of the cinematography in hypermodernity? How have the social, cultural, and technological phenomena of our time transformed the way of producing images, graphic and photographic? Based on theoretical pillars such as hypermodernity, intensified continuity, and media reallocation, we seek to investigate the contemporary condition of cinematography, which is increasingly moving away from its vocation of encapsulating the natural universe to constitute itself in the art of generating synthetic images.