Expanded Cinema

Source: Wikipedia, the free encyclopedia.

Expanded Cinema by

special effects, computer art, video art, multi-media environments and holography
.

"Part One: The Audience and the Myth of Entertainment"

In the first part of the book, Youngblood attempts to show how expanded cinema will unite art and life. "Television's elaborate movie-like subjective-camera simulation of the first moon landing" (p46) showed a generation that reality was not as real as simulation. He says that he is writing "at the end of the era of cinema as we've known it, the beginning of an era of image-exchange between man and man" (p. 49). The

Teilhard de Chardin
) is the organizing intelligence of the planet—the minds of its inhabitants. "Distributed around the globe by the intermedia network, it becomes a new technology that may prove to be one of the most powerful tools in man's history" (p. 57). He defends the universality of art against the localism of entertainment:

The intermedia network has made all of us artists by proxy. A decade of television-watching is equal to a comprehensive course in dramatic acting, writing, and filming...the mystique is gone—we could almost do it ourselves. Unfortunately too many of us do just that: hence the glut of sub-mediocre talent in the entertainment industry.

— p. 58

This is what forces cinema to expand and become more complex. Mass media entertainment dulls people's minds. It is a closed,

entropic
system, adding nothing new. (pp. 59–65) Entertainment dwells on the past. We live in future shock so art should be an invention of a future (pp. 66–69). New systems need to be designed for old information. The artist is a design scientist.

"Part Two: Synaesthetic Cinema: The End of Drama"

Youngblood describes television as the

Wavelength
is also an example of synaesthetic cinema's extra-objective reality (pp. 122–127). At the end of the second part of the book Youngblood writes about the rebirth of the cottage industry in the post-mass-audience age. Video tapes can be exchanged freely, films are becoming more personal, specializations are ending (pp. 128–134).

"Part Three: Toward Cosmic Consciousness"

Youngblood analyses

2001: A Space Odyssey to explore the "electronic age existentialism" (pp. 139–150). He examines Douglas Trumbull's use of mechanical processes to create the Stargate sequence (pp. 151–156) and describes the work of Jordan Belson
as an example of cosmic cinema (pp. 157–177).

"Part Four: Cybernetic Cinema and Computer Films"

Youngblood defines the technosphere as a symbiosis between man and machine. The computer liberates man from specialization and amplifies intelligence (pp. 180–182). He draws comparisons between computer processing and human neural processing (pp. 183–184). Logic and intelligence is the brain's software. He predicts that computer software will become more important than

(pp. 207–256).

"Part Five: Television as a Creative Medium"

Youngblood describes the videosphere, in which computers and televisions are extensions to man's central nervous system. He is optimistic about technological advances and predicts

The Living Theater, Robert Frank and Walter De Maria (pp. 292–293). Nam June Paik has worked creatively with television (pp. 302–308). Les Levine exploits the potential of closed-circuit television
(pp. 337–344).

"Part Six: Intermedia"

Youngblood sees the artist as an ecologist, involved with the environment rather than with objects (pp. 346–351). By way of example he cites the video displays at world expositions (specifically Roman Kroitor's large-scale projections at Expo 67 and Expo '70 (pp. 352–358), and the Cerebrum, an art/nightclub environment. Artists such as Carolee Schneemann and Robert Whitman combine film projection with live performance (pp. 366–371). Wolf Vostell incorporates video experiments into environmental contexts (p. 383). Light shows are used in concerts and multiple projectors and video screens create complex environments.

"Part Seven: Holographic Cinema: A New World"

Finally, Youngblood explores the creative potential of holography.

Key ideas

References

  1. ^ Manovich, Lev. 2002. "Ten Key Texts on Digital Art: 1970–2000". Leonardo. 35 (5): 567–569.

External links