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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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Epilogue

Epilogue

Chapter:
(p.206) Chapter 7 Epilogue
Source:
From Film Practice to Data Process
Author(s):

Sarah Atkinson

Publisher:
Edinburgh University Press
DOI:10.3366/edinburgh/9780748693580.003.0007

This chapter closes the book with a look back at 2012 through the contemporary moment of 2017 reflecting upon recent changes and innovations in the film industry. Five years on from the temporal origin of the book’s focus of study, the film industry and film production has continued to be impacted by digital interventions in innumerable ways. Since 2012, new creative and logistical responses to technological innovations have proliferated, resulting in new types of film production and new exhibition practices. This chapter summarises the key concepts of the book - Production Aesthetic; collaborative auteurism; transitional auteurship; and workflow-warp and weft. The chapter looks forwards to the future of digital film studies–approaches and methods through a summary of the analytical framework developed within the book: through the unification and cross-analyses of the tripartite of text, production aesthetics and representational text(s) and their subsequent mobilization and dissemination.

Keywords:   Production aesthetic, Collaborative auteurism, Transitional auteurship, Digital Film Studies, Sally Potter, Workflow-warp, Pseudo-visibility, Hyper-invisibility, Synthespians, Digitographic, Digilogue

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