The essay analizes the transformations suffered from the cinema with the advent of digital technology and the theories that hypothesize the disappearance of film (Baudrillard, Virilio, Debray). The author affirms that cinema resists as model for new media and as experience of the spectator, despite these transformations. Finally, the essay suggests to abandon the ontological question for a phenomenological description. This description allows to identify some similarity between digital cinema and painting.
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