Non-Cinema: Global Digital Film-making and the Multitude

Description

Non-Cinema: Global Digital Film-making and the Multitude provides an original film-philosophy through which to understand low budget digital filmmaking from around the globe. It draws upon a wide range of western and non-western philosophers, physicists, theorists of ‘Third Cinema,’ and contemporary film theorists and film-philosophers in order to argue that the future of cinema lies at the margins, in the extreme, the overlooked and the under-funded – the sort that distributors, exhibitors and audiences would not consider to be cinema at all, hence “non-cinema.” Analysing numerous films, William Brown argues that contemporary low-budget digital cinema is also through its digital form a political cinema that suggests that we are not detached observers of the world, but entangled participants therewith. Non-Cinema constructs this argument by looking at work by established filmmakers like Jean-Luc Godard, Abbas Kiarostami, Jafar Panahi and Michael Winterbottom, as well as lesser known work from places as diverse as Asia, the Middle East, Europe, the Americas and Africa. Cover Half-title Title Copyright Contents Acknowledgements Introduction: What is Non-Cinema? 1. Digital Dreams in Afghanistan 2. The Iranian Digital Underground, Multitudinous Cinema and the Diegetic Spectator 3. Digital Entanglement and the Blurring of Fiction and Documentary in China 4. Digital Darkness in the Philippines 5. Digital Acinema from Afrance 6. A Certain Compatibility: The British Digital Wave 7. Non-Cinema in the Heart of Cinema 8. Globalization and Erasure: Digital Non-Cinema in Uruguay 9. Cinema out of Control: Th ese are Not Films 10. Farewell to Cinema; Hello to Africa Conclusion Bibliography Index