Film in the Composite Image: Cinema at the Digital Turn
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This chapter investigates how, in many films of the late 1990s and early 2000s, techniques of the interval are associated with a renewed encounter with cinema following developments in digital technologies. Lee analyzes how slow motion, stop motion, time-lapse photography, and associated techniques are found at sites of conspicuous medial layering, such that the manipulation of the interval between film frames overlays an insisted-upon interval between discrete media forms. The chapter explores how this arrangement stages the cinematic apparatus at a remove, so as to reawaken a sensuous attachment to cinema at the very instant it was ceasing to be a film-based medium.