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From Film Practice to Data ProcessProduction Aesthetics and Representational Practices of a Film Industry in Transition$
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Sarah Atkinson

Print publication date: 2018

Print ISBN-13: 9780748693580

Published to Edinburgh Scholarship Online: September 2018

DOI: 10.3366/edinburgh/9780748693580.001.0001

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Digital Film Production Representations

Digital Film Production Representations

(p.141) Chapter 5 Digital Film Production Representations
From Film Practice to Data Process

Sarah Atkinson

Edinburgh University Press

This chapter explores the various modes, tools and types of film industry representation, whereby film is the conduit through which we see film production, and is subject to its own representational modes, aesthetics and practices. A genealogy of different types of mediated films and their making are presented. The chapter details how Ginger & Rosa communicated and embedded its Production Aesthetic in a number of different ways. The chapter presents the inherent paradox which is innate to these modes of representation where the film production attempts to make itself visible whilst simultaneously rendering itself invisible. This leads to a conflicting aesthetic of ‘pseudo-visibility’ and ‘hyper-invisibility’ – the simultaneous openness and foreclosure of film production practice obscuring people, histories and practices. Drawing on themes of invisible labour, invisible economies, politics of invisibility and aesthetics of erasure, the chapter then turns to considerations where aesthetics of production are made manifest in modes of resistance – where the tools, iconography and aesthetics of production are subverted for moments of protest by film industry practitioners.

Keywords:   Production iconography, Filmmaking aesthetics, Pseudo-visibility, Hyper-invisibility, Production aesthetics, Representational texts, Mediation, Invisible labour, Protest

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