A summarised presentation of a reading for uni media cultures 2nd year. 2010. By Jason O'Dwyer Manovich, Lev (2001). ‘Technology and Style in Computer-Animation’ in The Language of New Media, pp 185-211.

2. Reading; Manovich, Lev (2001). ‘Technology and Style in Computer-Animation’ in The Language of New Media, pp 185-211. by Jason O'Dwyer (u4521783)

3. Technology & Style In Cinema Andre Bazin was the first to acknowledge the idea of cinematic realism, which attempts to combine cinematic technology and style to create a “total and complete representation of reality.” Through advancements in film techniques (the introduction of depth of field, etc) the spectator was soon allowed to have a more intimate relationship with the image than was already possible in our own reality. “ Basin draws the idea of realism from mythological, utopian thinking. For him, realism is found in the space between reality and a transcendental spectator.” (Manovich, 187)

4. Technology & Style In Cinema Jean-Louis Comolli focuses more on an ideological function of cinema. He described this function as “objective duplication of the 'real' itself conceived as specular reflection.” In other words, for cinema to maintain its realism on the viewer it would have to constantly update and maintain itself, which it does through the addition and substitution principles. It constantly advances the latest of its images (through technological developments such as sound, colour, etc) so that any images from the past now look outdated (unrealistic) in comparison to the new level of realism displayed. “ Comolli sees realism as an effect produced between the image and the historical viewer and continuously sustained through the ideologically determined additions and substitutions of cinematic technologies and techniques.” (Manovich, 187)

5. Technology & Style in Cinema Bordwell & Staiger acknowledge that cinema is an industry influenced by the modern practices of efficiency, product differentiation and maintenance of a standard quality. They see realism as an engineering goal for the film industry and that is why the technology is produced to achieve an accepted view of realism for the viewer. “ Bordwell & Staiger locate realism within the institutional discourses of film industries, implying that it is a rational and pragmatic tool in industrial competition.” (Manovich 187)

6. Technology and Style in Computer Animation The evolution of realism in animation followed Commoli's theory of addition and substitution in the codes of realism. The focus of animation achieved a greater ideal of photorealism by evolving from the use of depth (Example given the linear perspectives of Tron) to a focus on a shallower space with reality effects such as shade, range and colour. (evolves as technology is advanced)

13. Too Perfect, Too Real??

15. Free of grain – created by film stock and human perception.

16. The lines are too geometrically perfect

20. A cyborg with futuristic alloy, in perfect form, with no degrading.