Page 90 - AC/E Digital Culture Annual Report 2016

90Endnotesappearance such as Assassin’s Creed or GrandTheft Auto, or lms like Jurassic Park, the rst to integrate real image and CGI (computer generated image) e ectively. ◄8. Jenkins, Henry: Convergence Culture: Where Old and New Media Collide. NYU Press, 2008. ◄9. There is in fact a certain type of lm that never went beyond this stage. Many Hollywood blockbusters are based on o ering a whole load of startling images that shock the viewer from start to nish, without paying too much attention to the story, and rely excessively on elaborate pyrotechnics. (The foremost representative of this type of lmmaking has to be Michael Bay). http:// www.imdb.com/name/nm0000881It is evident that, for budgetary reasons, we cannot compete with the US lm industry in this eld. Having said that, we will also have to wait and see if spectacular movies of this kind are really sustainable in the future. ◄10. https://www.youtube.com/ watch?v=Ut79ZutM8cs ◄11. http://petapixel.com/2015/03/13/the- rst-360- degree-interactive-videos-have-arrived-on- youtube/ ◄12. http://wiki.in nitythegame.com/es/Visor_360 ◄ 13. https://en.wikipedia.org/wiki/Massively_multiplayer_online_role-playing_game ◄14. http://www.incomediary.com/ultimate-guide-interactive-youtube-videos ◄15. Ruggiero, Laura: ¿Para qué construir una máquina de la empatía? (online.) https://medium. com/@seiren lms/para-qu%C3%A9-construir- una-m%C3%A1quina-de-la-empat%C3%ADa- 5854f7036917#.f1i6zat2k ◄16. Gil, María: El Ministerio del Tiempo hace balance: ‘La audiencia también se mide por la calidad y el prestigio’. Europa Press. 12 April 2015. (online) http://www.europapress.es/tv/noticia-ministerio- tiempo-hace-balance-audiencia-tambien-mide- calidad-prestigio-20150412102312.html ◄1.Gibson, William: Neuromancer. New York, Ace Books, 1984. ◄2. Manovich, Lev: The Language of New Media. Cambridge, Mass, MIT Press, 2002. ◄3. Manovich, Lev: Software Takes Command. New York, Bloomsbury Academic, 2013. ◄4. http://manovich.net ◄Kennedy, John: How digital disruption changed8 industries forever. (online) https://www. siliconrepublic.com/companies/2015/11/25/digital- disruption-changed-8-industries-forever ◄6. While this article was being written, the following news was released. O’Falt, Chris. ‘How the New Star Wars Movie is Bringing Celluloid Back to Cinema’. Indiewire, 14 December 2015. (online) http://www.indiewire.com/article/how-the- new-star-wars-movie-is-bringing-celluloid-back- to-cinema-20151214?utm_medium=sailthru_ newsletter&utm_source=iwDaily_newsletter According to the autor, Kodak is not shutting down its lm manufacturing plant: the decision of a few renowned Hollywood lm directors is guaranteeing the continuation of 35 mm format, but we should realise that this situation is oneof survival rather than supremacy. Whether or not lm dies out is anecdotal. Super 8 isn’t dead either, but nobody would dream of consideringit the most common support in today’s market. However, every technology provides an aesthetic of its own; sometimes we adopt it simply because it’s what we have at hand, other times we embrace it voluntarily. Whatever the case, nowadays digital has largely become the usual format for recording. ◄7. Such as Pixar, with its successes. I realise readers could argue that ‘cartoons’ already existed before the digital age, and they would be right. But the point I'm trying to make is that we can generate (images of) virtual realities as real as or more real than life itself. If the example of Pixar isn’t clear enough, consider videogames with a more realistic5.DATA, INTERFACES & STORYTELLING: AUDIOVISUAL IN THE DIGITAL AGE · MONTECARLOSmart Culture: Impact of the Internet on Artistic Creation