This article examines the role that theories of photographic cinema play in the criticism of digital cinema. The theories of Georges Méliès, Vachel Lindsay, Lev Kuleshov, André Bazin and Rudolf Arnheim-critics, theoreticians and filmmakers, the keystones of this work-have proven pertinent to the advancing technology of other cinematic forms. Their ideas have applicability to specific aspects of digital cinema, including the manipulation of illusory space, discrete and explicit control of cinematic elements, the transformation of world spaces into screen space and the role of realistic imagery in determining the content of a cinematic work. Parallels can be drawn between the ideas of these theorists, most of whom wrote during the infancy of photographic cinema, on the developing state of film and that of current digital cinema.
Leonardo was founded in 1968 with the goal of becoming an international channel of communication for artists who use science and developing technologies in their work. Today, Leonardo is the leading international journal for readers interested in the application of contemporary science and technology to the arts and music. Leonardo supplemental issues have included SIGGRAPH art show catalogs, features on topics such as electronic art and sound and music technology, as well as applications for art and technology.
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Leonardo. Supplemental Issue
© 1990 Leonardo
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