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Call No: 202 CIN
Author: Elsaesser, Thomas Hoffmann, Kay
Place: Amsterdam
Publisher: Amsterdam University Press
PubDate: 1998
PhysDes: 312 pages : ill. ; 25 cm
Series: Film culture and translation
Subject: DIGITAL CINEMA; DIGITAL DISTRIBUTION; DIGITAL MEDIA AND THE CINEMA; DIGITAL TELEVISION; COMPUTERS AND THE CINEMA; TELEVISION AND THE CINEMA; TELEVISION AND THE ARTS; TELEVISION, FILMS SHOWN ON; VIRTUAL REALITY
Summary: "Cinema Futures: Cain, Abel or Cable? presents a careful and forceful argument about predictions that tend to be made when new technologies appear. Examining the complex dynamics of convergence and divergence among the audio-visual media, the authors are realistic in their estimate of the future of the cinema's aesthetic identity, and robustly optimistic that the different social needs audiences bring to the public and domestic media will ensure their distinctiveness, as well as the necessary openness of cultural meaning and creative input" -- Blurb
Notes: Includes bibliographical references, notes and index
ISBN: 9053563121
Donation: Adrien Miles
Contents: 1. Preface / Thomas Elsaesser and Kay Hoffmann -- Introduction -- 2. Cinema futures: Convergence, divergence, difference / Thomas Elsaesser -- Sectio one: Media archaeologies -- 3. Towards an archaeology of the computer screen / Lev Manovich -- 4. Louis Lumiere - the cinema's first virtualist? / Thomas Elsaesser -- 5. Speed is the mother of cinema / Edgar Reitz -- 6. Fin de Siecle of television / Siegfried Zielinski -- 7. Theseus and Ariadne: For a counter-history of the cinema-television relationship? / Vito Zagarrio -- Section two: Cinema and television -- 8. Scanning the horizon: A film is a film is a film / Conrad Schoeffter -- 9. Television and the close-up: Interference or correspondence? / Pierre Sorlin -- 10. Cinema and television: Laios and Oedipus / John Ellis -- 11. Cinema and television: From Eden to the land of nod? / Michael Eaton -- 12. Fantasy island: Dream logic as production logic / Thomas Elsaesser -- Section three: Documentary: the digital age's first casualty -- 13. 'I See, if I Believe it' - Documentary and the digital / Kay Hoffmann. -- 14. Theatrical and Television Documentary: The sound of one hand clapping / Brian Winston -- 15. On the big screen every doctor gets a Starring Role / Joyce Roodnat -- 16. From butterflies and bees to Roger and me / Stan Lapinski and Rene van Uffelen -- 17. To lie and to act: Cinema and telepresence / Ley Manovich -- Section four: Digital futures for cinema -- 18. Digital cinema: Delivery, event, time / Thomas Elsaesser 19. The television screen: from spoil-sport to game-maker / Ed Tan 20. Random access rules / Grahame Weinbren 21. Electronic cinema: On the way to the digital / Kay Hoffmann 22. The assault of computer-generated worlds on the rest of time / Martin Emele

Call No: 62 ROM
Author: Rombes, Nicholas
Edition: Revised edition
Place: London; New York
Publisher: New York Columbia University Press
PubDate: 2017
PhysDes: 22 b& w illustrations
Subject: DIGITAL CINEMA; NOSTALGIA; FILMMAKING; DISTRIBUTION; DIGITAL DISTRIBUTION; MEDIA AND THE CINEMA; EDITING; PHILOSOPHY AND THE CINEMA; VIDEO FORMATS; PARANORMAL ACTIVITY : THE MARKED ONES ( US, Christopher Landon, 2014); THEORY; SPECTATORSHIP; BLUE VELVET (US, David Lynch, 1986); APPLE; COMPUTER GENERATED IMAGERY; POSTMODERNISM AND THE CINEMA; FORMATS; CINEMATOGRAPHY
Summary: Have digital technologies transformed cinema into a new art, or do they simply replicate and mimic analogue, film-based cinema? Newly revised and expanded to take the latest developments into account, Cinema in the Digital Age examines the fate of cinema in the wake of the digital revolution. Nicholas Rombes considers Festen (1998), The Blair Witch Project (1999), Timecode (2000), Russian Ark (2002), and The Ring (2002), among others. Haunted by their analogue pasts, these films are interested not in digital purity but rather in imperfection and mistakes-blurry or pixilated images, shaky camera work, and other elements that remind viewers of the human behind the camera.With a new introduction and new material, this updated edition takes a fresh look at the historical and contemporary state of digital cinema. It pays special attention to the ways in which nostalgia for the look and feel of analogue disrupts the aesthetics of the digital image, as well as how recent films such as The Social Network (2010) and The Girl with the Dragon Tattoo (2011)-both shot digitally-have disguised and erased their digital foundations. The book also explores new possibilities for writing about and theorizing film, such as randomization.
Notes: Includes bibliographical references.
ISBN: 9780231167550
Donation: Senses of Cinema
Contents: Machine generated contents note: 1.Accelerationism 2.The Adorno Paradox 3.Against Method 4.Analog/ Digital Splice 5.Blood, Simple 6.Boredom and Analog Nostalgia 7.The Digital Spectacular 8.Disposable Aesthetics 9.DV Humanism 10.Filmless Films 11.Frame Dragging 12.The Ideology of the Long Take 13.Image/ Text 14.Incompleteness 15.Interfaces 16.iPod Experiment 17.Ironic Mode 18.Looking at Yourself Looking 19.The Lost Underground 20.Love in the Time of Fragments 21.Media as Its Own Theory 22.Mobile Viewing 23.Moving Space in the Frame, and a Note on Film Theory 24.Natural Time 25.Nonlinear 26.Paranormal Activity 2 27.Pausing 28.Punk 29.Realism 30.Real Time 31.The Real You 32.The Reality Industrial Complex 33.Remainders 34.Sampling 35.Secondary Becomes Primary 36.Self-Deconstructing Narratives 37.Shaky Camera 38.Shoot! 39.Simultaneous Cinema 40.Small Screens Contents note continued: 41.Target Video 42.Time, Memory 43.Time-Shifting 44.Tmesis: Skimming and Skipping 45.Undirected Films 46.Viewer Participation 47.Virtual Humanism: Part 1 48.Virtual Humanism: Part 2 49.Visible Language, Spring 1977 50.Interpreting Film Images Through Randomized Constraint: The Blue Velvet Project

Call No: 301(-5) IOR
Edition: 2012
Place: St Andrews, Scotland
Publisher: St Andrews Film Studies
PubDate: 2012
PhysDes: viii, 223 p. ; 23 cm
Subject: DIGITAL DISTRIBUTION; INTERNET AND THE CINEMA; DISTRIBUTION; COPYRIGHT; YOUTUBE
Summary: ‘Nobody knows anything’, said William Goldman of studio filmmaking. The rule is ever more apt as we survey the radical changes that digital distribution, along with the digitisation of production and exhibition, is wreaking on global film circulation. Digital Disruption: Cinema Moves On-line helps to make sense of what has happened in the short but turbulent history of on-line distribution. It provides a realistic assessment of the genuine and not-so-promising methods that have been tried to address the disruptions that moving from ‘analogue dollars’ to ‘digital cents’ has provoked in the film industry. Paying close attention to how the Majors have dealt with the challenges – often unsuccessfully – it focuses as much attention on innovations and practices outside the mainstream. Throughout, it is alive to, and showcases, important entrepreneurial innovations such as Mubi, Jaman, Withoutabox and IMDb. Written by leading academic commentators that have followed the fortunes of world cinema closely and passionately, as well as experienced hands close to the fluctuating fortunes of the industry, Digital Disruption: Cinema Moves On-line is an indispensable guide to great changes in film and its audiences. -- publisher's web site
ISBN: 9780956373076
Donation: donated by Senses of Cinema, 2014
Contents: Digital Disruption: Technological Innovation and Global Film Circulation / Dina Iordanova -- On-line Film Distribution: Its History and Global Complexion / Stuart Cunningham and Jon Silver -- Digital Revolution: Active Audiences and Fragmented Consumption / Michael Gubbins -- Internet-enabled Dissemination: Managing Uncertainty in the Film Value Chain / Michael Franklin -- Convergence, Digitisation and the Future of Film Festivals / Marijke De Valck -- Mission Unreachable: How Jaman Is Shaping the Future of On-line Distribution / Jon Silver, Stuart Cunningham, Mark David Ryan -- ‘IMDb Helps Me Sleep at Night’: How a Simple Database Changed the World of Film / Alex Fischer -- ‘The Fully Clickable Submission’: How Withoutabox Captured the Hearts and Minds of Film Festivals Everywhere / Alex Fischer -- Spotlight on MUBI: Two Interviews with Efe Cakarel, Founder and CEO of MUBI / Paul Fileri and Ruby Cheung -- ‘What Do You Do with What You See?’: Patterns and Uses of Cinéphilia, Then and Now / Ben Slater -- Appendix 1: Timeline – On-line Distribution of Feature Films / Stuart Cunningham and Jon Silver -- Appendix 2: A Selection of / Mostly Legal) VOD and On-line Content Providers / Stuart Cunningham and Jon Silver -- Appendix 3: Comparative Internet Rankings: 40 International On-line Movies-on-demand Sites / Stuart Cunningham and Jon Silver -- Appendix 4: Comparative Deal Terms in 2009 / Stuart Cunningham and Jon Silver -- Appendix 5: Related Websites / Alexander Marlow-Mann

Call No: SUBJECT CLIPPINGS FILE; NETFLIX
Author: Bodey, Michael
PhysDes: Clippings File Article
Subject: NETFLIX; PAY TV. AUSTRALIA; DIGITAL DISTRIBUTION; INDUSTRY, TV. AUSTRALIA
Summary: Opinon piece stating that Netflix's arrival in Australia is not as big a deal as has been made out, and that TV watching is still the main way people connect with media.
Notes: Term Subscription Video On Demand (SVOD) used

Call No: SUBJECT CLIPPINGS FILE; DIGITAL DISTRIBUTION
Author: Lynch, Jared
PhysDes: Clippings File Article
Subject: DIGITAL DISTRIBUTION
Summary: Seth Shapiro says that Australia's Subscriber Video On Demand companies will struggle to gain a foothold in the competitive market.

Call No: SUBJECT CLIPPINGS FILE; NETFLIX
Author: Chow, Ky
PhysDes: Clippings File Article
Subject: NETFLIX; DIGITAL DISTRIBUTION
Summary: Netflix talks about the Australian digital television market and how they are poised to enter that market

Call No: 386.5-5 LOB
Author: Lobato, Ramon
Edition: 2019
Place: New York
Publisher: New York University Press
PhysDes: xii, 236 pages : illustrated ; 21 cm
Series: Critical Cultural Communication
Subject: NETFLIX; VIDEO ON DEMAND; DIGITAL DISTRIBUTION
Summary: Television, once a broadcast medium, now also travels through our telephone lines, fiber optic cables, and wireless networks. It is delivered to viewers via apps, screens large and small, and media players of all kinds. In this unfamiliar environment, new global giants of television distribution are emerging—including Netflix, the world’s largest subscription video-on-demand service. Combining media industry analysis with cultural theory, Ramon Lobato explores the political and policy tensions at the heart of the digital distribution revolution, tracing their longer history through our evolving understanding of media globalization. Netflix Nations considers the ways that subscription video-on-demand services, but most of all Netflix, have irrevocably changed the circulation of media content. It tells the story of how a global video portal interacts with national audiences, markets, and institutions, and what this means for how we understand global media in the internet age. Netflix Nations addresses a fundamental tension in the digital media landscape – the clash between the internet’s capacity for global distribution and the territorial nature of media trade, taste, and regulation. The book also explores the failures and frictions of video-on-demand as experienced by audiences. The actual experience of using video platforms is full of subtle reminders of market boundaries and exclusions: platforms are geo-blocked for out-of-region users (“this video is not available in your region”); catalogs shrink and expand from country to country; prices appear in different currencies; and subtitles and captions are not available in local languages. These conditions offer rich insight for understanding the actual geographies of digital media distribution. Contrary to popular belief, the story of Netflix is not just an American one. From Argentina to Australia, Netflix’s ascension from a Silicon Valley start-up to an international television service has transformed media consumption on a global scale. Netflix Nations will help readers make sense of a complex, ever-shifting streaming media environment. -- publisher's web site
ISBN: 9781479804948

Call No: 301.1-4(94)
Author: Harris, Lauren Carrol
Place: Strawberry Hills, N.S.W.
Publisher: Currency House
PubDate: November 2013
PhysDes: 90 p. ; 21cm
Series: Platform papers ; no.37
Subject: DISTRIBUTION; DISTRIBUTION. AUSTRALIA; DIGITAL DISTRIBUTION; VIDEODISCS; VIDEO ON DEMAND
Summary: "Lauren Carroll Harris' treatise on the state of distribution in Australia for locally produced feature films is a timely and provocative analysis of the existing structures and a powerful argument for adjustment and change in this post digital world. Her reflections on a distribution led industry potentially replacing a production development led industry need to be seriously debated given our recent change of government and new management and key personnel at Screen Australia". Antony I. Ginnane. -- publisher's web site
Notes: Includes reader's responses to previous Platform Papers.
ISBN: 9780987211477

Author: Lobato, Ramon
PhysDes: Article
Subject: INTERNET AND THE CINEMA. AUSTRALIA; INTERNET AND THE CINEMA; DIGITAL DISTRIBUTION; DISTRIBUTION. AUSTRALIA
Summary: The hype around digital film distribution is now at fiver pitch, with promises of a brave new world of instant delivery, unfettered consumer choice and new revenue streams for film-makers. Surveying the current array of commercial online video-on-demand (VOD) services, this article offers some critical reflections on these emerging circulatory models. The focus is on power relations within the online VOI industry and on issues of audience access and equity. The article argues that distribution should be a key concern for contemporary film researchers, given the power of distributors to determine the range of films available to viewers and the conditions under which they are accessible. While the ‘democratizing’ potential of online distribution may be appealing, it is important to recognize that digital delivery infrastructures may not result in any real diversification of film culture, that much of the Australian audience will be excluded from their reach and that the vast majority of online film consumption will continue to take place in the extralegal realm. -- Abstract
Notes: Part of a special issue on digital cinema in Australia and New Zealand

Call No: 301.76 LOB
Author: Lobato, Ramon
Source: UK
Place: London
Publisher: Palgrave macmillan [on behalf of the] bfi
PubDate: 2012
PhysDes: viii, 168 p. ; 24 cm
Series: Cultural histories of cinema
Subject: DISTRIBUTION; PIRACY; DIGITAL DISTRIBUTION; COPYRIGHT; INTERNET
Summary: "How do people access movies today?; What are the most popular and powerful channels for media distribution on a global scale?; How are film industries changing in the face of media convergence and digitisation? To answer questions such as these, argues Ramon Lobato, we must shift our gaze away from the legal film business and toward cinema's shadow economies. All around the world, films are bought from roadside stalls, local markets, and grocery stores; they are illegally downloaded and streamed; they are watched in makeshift video clubs, on street corners, and in restaurants, shops and bars. International film culture in its actually-existing forms is a messy affair; and it relies to a great extent on black and grey media markets. Examining the industrial dynamics of these subterranean film networks across a number of different sites-from Los Angeles to Lagos, Melbourne to Mexico City-this book shows how they constitute a central rather than marginal part of audiovisual culture and commerce. Combining film industry analysis with cultural theory, Shadow Economies of Cinema opens up a new area of inquiry for cinema studies, putting industry research into dialogue with wider debates about economic informality and commodity circulation. Written in an accessible style, this book offers an original 'bottom-up' perspective on the global cinema industry for researchers and students in film studies, cultural studies, and media and communications."-BOOK BLURB
Notes: includes appendix: Film Distribution Research Guide; includes bibliographical references; includes index
ISBN: 9781844574117
Contents: Machine generated contents note: Why distribution? -- Formal and informal film economies -- Shadows, sites and circuits -- 1.Distribution from Above and Below -- Redefining distribution: theory and practice -- Distribution from below -- The cultural politics of distribution -- Conclusion -- 2.The Straight-to-video Slaughterhouse -- `Anything with sprocket holes' -- The STV aesthetic -- Transnational STV circuits -- Shooting and selling STV action in the Asia-Pacific -- The slaughterhouse of cinema -- Conclusion -- 3.Informal Media Economies -- The formal and the informal -- The centrality of informality -- Informal economies of cinema -- Informality, cinema and the state -- Between formal and informal distribution: Tropa de elite -- 4.Nollywood at Large -- A short history of the Nigerian video boom -- The formalising imperative -- Formalising international distribution -- Conclusion -- 5.Six Faces of Piracy -- Copyright and the construction of piracy -- Piracy as theft -- Contents note continued: Piracy as free enterprise -- Piracy as free speech -- Piracy as authorship -- Piracy as resistance -- Piracy as access -- Everyday ethics of piracy in Tepito, Mexico City -- Tepito postscript 2010 -- 6.The Grey Internet -- Mapping the online distribution ecology -- Linking sites -- Video-hosting sites -- Cyberlockers -- Informal enforcement on the digital frontier -- Conclusion -- Conclusion: Coordinates for Studying Distribution in a Digital Age -- From pipelines to swarms -- Rethinking informational freedom

Call No: SUBJECT CLIPPINGS FILE; DIGITAL DISTRIBUTION
Author: Mason, Max -- White, Dominic
PhysDes: Clippings File Article
Subject: DIGITAL DISTRIBUTION

Author: Aveyard, Karina
PhysDes: Article
Subject: DIGITAL CINEMA; DIGITAL DISTRIBUTION; DIGITAL TECHNOLOGY. AUSTRALIA; INDUSTRY, FILM. AUSTRALIA; NATIONAL FILM AND SOUND ARCHIVE; EXHIBITION. AUSTRALIA
Summary: Australia is on the path to achieving a full-scale conversion to digital cinema exhibition probably within the next five to ten years. Despite early optimism that digitization could provide a catalyst for greater democratization of the Australian exhibition market by creating more opportunities for audiences to see independent and alternate films, this outcome now appears far from certain. The launch and ongoing roll-out of the international standard for digital exhibition, which is now firmly controlled by the major American studios, is intensifying, rather than diminishing, the market dominance of these media conglomerates and their local allies, the major Australian exhibition chains. Independent film exhibition and alternative presentation formats, on the other hand, are being pushed even further to the periphery by these increasingly centralized market forces. While independent and major exhibitors have historically coexisted, although at times in a somewhat uneasy relationship, the financial imperatives of digital cinema now threaten to drive many independent cinemas to the edge, and with them the ongoing diversity of cinema culture in Australia. Of particular concern is the late of independent theatres in regional and rural locations where many provide the only public screening opportunities within large geographic areas. This article outlines digital developments in Australia's commercial cinema industry within a national and international context, and in doing so considers the impact of digital exhibition technologies on Australia's independent cinema sector. -- Abstract
Notes: Part of a special issue on digital cinema in Australia and New Zealand