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European Cinemas in the Television Age$
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Dorota Ostrowska and Graham Roberts

Print publication date: 2007

Print ISBN-13: 9780748623082

Published to Edinburgh Scholarship Online: March 2012

DOI: 10.3366/edinburgh/9780748623082.001.0001

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Reproduction: Re-Creation of Cinema Via the Domestic Screen

Reproduction: Re-Creation of Cinema Via the Domestic Screen

Chapter:
(p.159) 11. Reproduction: Re-Creation of Cinema Via the Domestic Screen
Source:
European Cinemas in the Television Age
Author(s):

Dorota Ostrowska

Graham Roberts

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748623082.003.0011

The outcry against television, the echoes of which can be heard loud and clear, even today, has been deepening the critical difference between cinema and television while the two media were actually growing closer together in terms of production, funding, and aesthetic values. Digital technology has been erasing very effectively the difference between cinema and television, thus continuing the process that started with the invention of the VHS tape. The rise of video and its digital progeny have illuminated, replicated, and even heightened another important aspect of the cinema–television relationship – namely, that television has practically since its inception acted as a cinema's lifeline. As an institution, television has been providing funding for the making of new films and employment for growing numbers of film-industry practitioners. As important was television's role in the re-creation of films through televisual distribution and exhibition. From its very beginning, the sustaining role of television was tightly linked to its role as a public broadcaster obliged to preserve cinematic heritage through televisual exhibition. Thus rather than extinguishing cinema, television became the keeper (even reviver) of the flame.

Keywords:   cinema, television, digital technology

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