{"id":57437,"date":"2025-01-30T09:32:14","date_gmt":"2025-01-30T09:32:14","guid":{"rendered":"https:\/\/peraltafinancing.com\/animation\/the-medium-has-metamorphosed-animationstudies-2-0\/"},"modified":"2025-01-30T09:32:14","modified_gmt":"2025-01-30T09:32:14","slug":"the-medium-has-metamorphosed-animationstudies-2-0","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=57437","title":{"rendered":"The Medium has Metamorphosed | animationstudies 2.0"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p>This article aims to theorise the metamorphosis of analogue media into digital media, a process enacted by digital media itself. The analysis will start by using the YouTube video \u201cThis is DVD (1998-1999) Advert\u201d as an emblem of digital media\u2019s desire to overwrite the analogue history of media. This is followed by an elaboration of how digital media simulates not only analogue media itself, but also the techniques of analogue media\u2014using the progression of the freeze-frame from literal to illusionistic to ever-present simulacrum, as an example of the domination of the digital.<\/p>\n<p>\u2014<\/p>\n<p>Following Marshall McLuhan, we can define a medium as a technology working as an \u201cextension of ourselves\u201d. McLuhan separates a medium\u2019s content from its message and asserts that an analysis of the technology supersedes any analysis of the uses of said technology. The aspect of media we are most concerned with is the notion that a medium\u2019s \u201ccontent\u201d is other mediums (Mcluhan 1964: 7-8).<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\">\n<p>\n<iframe loading=\"lazy\" title=\"This is DVD (1998-1999) Advert\" width=\"840\" height=\"630\" src=\"https:\/\/www.youtube.com\/embed\/lyaT7YHhN_4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/p>\n<\/figure>\n<p class=\"has-text-align-center\"><strong>Video Clip 1. \u201cThis is DVD (1998-1999) Advert\u201d Uploaded by TP Percival in 2018.<\/strong><\/p>\n<p><em>This is DVD<\/em>, for example, was an advert for the medium of DVD on VHS. The medium of VHS is presenting the medium of moving image, which presents both sound and photography, which present speech, music, text, print, iconography, and animation\u2014even as all this is already animation\u00b9.<\/p>\n<p>The same is not true of the YouTube video \u201cThis is DVD (1998-1999) Advert\u201d, because the primary export of digital video is not the video, but its digital rendering. The act of \u2018digitizing\u2019 this advert works to propose a superiority of digital video over the analogue VHS, seeking to prove its claim by representing the artefacts of the VHS\u2019s interlaced video (see Fig. 1 + 2).<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a href=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/11\/1.png\"><img fetchpriority=\"high\" decoding=\"async\" width=\"1024\" height=\"372\" src=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/11\/1-1024x372.png\" alt=\"\" class=\"wp-image-7004\" srcset=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/11\/1-1024x372.png 1024w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/11\/1-300x109.png 300w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/11\/1-768x279.png 768w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/11\/1.png 1318w\" sizes=\"(max-width: 1024px) 100vw, 1024px\"\/><\/a><figcaption class=\"wp-element-caption\"><strong>Figures 1 + 2. Stills from \u201cThis is DVD (1998-1999) Advert\u201d.<\/strong><\/figcaption><\/figure>\n<\/div>\n<p>The digital video does not grasp the frailty of this endeavour, as the comparison allows us to see the digital for what it is. It does not copy, instead, it merely represents the VHS, with the artefacts aiming to <em>remind <\/em>us of its analogue \u2018origin\u2019, without reproducing either the analogue or its artefacts in any real way. While the VHS has frames that actually overlap each other, the digital video has discrete individual frames\u2014being used to depict interlaced video in this instance. But for the digital video, this representation of the analogue is enough to consider the analogue \u2018digitized\u2019 and improved upon.<\/p>\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><a href=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/11\/2.png\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"373\" src=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/11\/2-1024x373.png\" alt=\"\" class=\"wp-image-7005\" srcset=\"https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/11\/2-1024x373.png 1024w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/11\/2-300x109.png 300w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/11\/2-768x280.png 768w, https:\/\/blog.animationstudies.org\/wp-content\/uploads\/2024\/11\/2.png 1316w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\"\/><\/a><figcaption class=\"wp-element-caption\"><strong>Figures 3 + 4. Stills from \u201cThis is DVD (1998-1999) Advert\u201d.<\/strong><\/figcaption><\/figure>\n<\/div>\n<p>The digital desire to simulate and replace the analogue is shown most directly in the advert when the narration announces, \u201cthe picture is twice as sharp as VHS,\u201d and a \u2018pixelated\u2019 plane \u2018depixelates\u2019 itself (see Fig. 3 and 4). This suggestion that the imprecision of VHS comes from a deficiency of pixels emerges from an entirely digital imagination, in which all video is already digital. The VHS <em>has<\/em> <em>no pixels<\/em>, and its poor image quality is due to the limitations related to the speed the VCR could read from the VHS\u2019s magnetic tape. But the digital cannot comprehend the analogue, so instead brings the analogue into its own understanding through a digitization process which strips the analogue of the analogue, and once understood as digital, is declared less digital than digital, worse than digital. Like is said of arguing with an idiot: \u201cThey\u2019ll bring you down to their level and beat you with experience.\u201d<\/p>\n<p>Now we can discuss what the digital screen has done to the freeze-frame. Tom Gunning\u2019s account of early cinema and Laura Mulvey\u2019s analysis of <em>Psycho (1960)<\/em> both suggest that the freeze-frame negotiates the moving image\u2019s relation to photography. For his part, Gunning describes Smith and Blackton\u2019s exhibitions starting with a single projected still image\u2014using a water cell between the bulb of the projector and the celluloid to absorb heat and hold the \u2018freeze-frame\u2019 for longer\u2014before the cinematic apparatus started up, and the photos \u2018came to life\u2019 (Gunning 1989: 867-868). Mulvey\u2019s description of the freeze-frame in <em>Psycho (1960)<\/em> is of an illusionistic freeze-frame, where hundreds of repeated frames present as one \u2018still image\u2019. For Mulvey, the freeze-frame is a reminder of cinema\u2019s origin in photography (Mulvey 2006: 81).<\/p>\n<p>Alan Cholodenko complicates this point with <em>Still Photography? <\/em>(2008), which describes <em>La Jet\u00e9e (1962)<\/em> as a \u201cmovie made of freeze-frames, of \u2018stills-in-motion,\u2019 just like every movie.\u201d For Cholodenko, the photograph is the virtual seed of the movie and is \u201cvirtually exchangeable\u201d with the actualisation of that seed.<\/p>\n<p>The digital freeze-frame is more of a farce than <em>Psycho<\/em>\u2018s illusionistic freeze-frame, as the high refresh-rate of many computer monitors outpace the framerate of the digital videos being watched on them, and every \u2018frame\u2019 becomes a freeze-frame. Not only are digital videos \u201cstills-in-motion\u201d, they are also a repetition of stills, stills stilled, only able to be put into \u2018motion\u2019 by being put through an additional digital stillness. Anything animated on twos are displayed as fours, eights, sixteens, and constitute a <em>bombardment<\/em> of more of the same.<\/p>\n<p>The digital freeze-frames of <em>\u201c<\/em>La Jetee (1962)<em>\u201d <\/em>on YouTube, then, are not a reminder of photography, but a digital display of the nature of digital video. These freeze-frames, while containing more \u201cfreeze-frames\u201d than <em>La Jet\u00e9e (1962), <\/em>only manage to <em>simulate<\/em> the movement of the original\u2019s \u201cstills-in-motion\u201d and showcase how digital media remains in its own disconnected \u2018world\u2019 of short-circuiting references\u2014such that it does not present other (non-digital) media, but instead makes the other (non-digital) mediums metamorphose, despite themselves, into digital mediums, or into being virtually exchangeable with digital mediums.<\/p>\n<p>\u2014<\/p>\n<p>Laura Mulvey has said that theorising 16mm film was easier than theorising digital media, because 16mm is tangible (2023). Part of digital media\u2019s greatest trick is pretending it is intangible, creating its own bubble in which everything is digital, and refusing to engage with anything outside unless it too is digital\u2014or is made digital.<\/p>\n<figure class=\"wp-block-embed aligncenter is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\">\n<p>\n<iframe loading=\"lazy\" title=\"IBM: Build AI assistants that know your world with watsonx\" width=\"840\" height=\"473\" src=\"https:\/\/www.youtube.com\/embed\/No7VxEoyab8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/p>\n<\/figure>\n<p class=\"has-text-align-center\"><strong>Video Clip 2. \u201cBuild AI assistants that know your world with watsonx\u201d. Uploaded by IBM in 2024.<\/strong><\/p>\n<p>So when IBM announces that \u201cYour personal AI assistant doesn\u2019t need to understand THE world, just your world\u201d, it reads to me as an acknowledgement that while AI can\u2019t understand the world, it is more than willing to replace it with digital media\u2013passing to the spectre, the HAL, of the Same.<\/p>\n<p><strong>References:<\/strong><\/p>\n<p>Cholodenko, A. <em>\u2018Introduction<\/em>\u2019, in <em>The Illusion of Life 2: More Essays on Animation<\/em>, ed. A Cholodenko, 13-95. (Sydney: Power Publications, 2007)<\/p>\n<p>Cholodenko, A. <em>\u2018Still Photography?\u2019 The Journal of International Baudrillard Studies, <\/em>5 (1), January 2008.<\/p>\n<p>Cholodenko, A. <em>\u2018The Expanding Universe of Animation (Studies)\u2019<\/em>, <em>Animation Studies<\/em> 11, 2016.<\/p>\n<p>Gunning, T. <em>\u2018An aesthetics of astonishment: Early film and the (in)credulous spectator\u2019, <\/em>in <em>Film Theory and Criticism, <\/em>eds. Leo Braudy and Marshall Cohen, 862-76. (Oxford: Oxford University Press, 1999).<\/p>\n<p>Mcluhan, M. <em>\u2018The Medium is the Message\u2019, Understanding Media: The extensions of man<\/em> (Canada: McGraw-Hill Book Company, 1964).<\/p>\n<p>Mulvey, L. <em>\u2018Alfred Hitchcock\u2019s <\/em>Psycho<em> (1960)\u2019<\/em> <em>Death 24x a Second.<\/em> (London: Reaktion Books, 2006).<\/p>\n<p>Mulvey, L. <em>Riddles of the Sphinx Q&amp;A.<\/em> May 13, Falmouth University. 2023.<\/p>\n<p><strong>Notes:<\/strong><\/p>\n<p>[1] Following from Alan Cholodenko\u2019s position on animation (studies) traced and expanded upon <em>The Expanding World of Animation (Studies)<\/em> (Cholodenko 2016)<em>, <\/em>that \u201call arts, media and communications are forms of animation\u201d(Cholodenko 2007, cited in Cholodenko 2016).<\/p>\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n<p><em><strong>Samuel Regan-Edwards<\/strong> is a recent graduate from Falmouth University\u2019s Animation BA(Hons) course, interested in how reference and acknowledgement function in animation in its limited, broader, and broadest senses.<\/em><\/p>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"<p>This article aims to theorise the metamorphosis of analogue media into digital media, a process enacted by digital media itself. The analysis will start by using the YouTube video \u201cThis is DVD (1998-1999) Advert\u201d as an emblem of digital media\u2019s desire to overwrite the analogue history of media. This is followed by an elaboration of [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":57438,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12035],"tags":[32568,2098,32567],"dealstore":[],"offerexpiration":[],"class_list":["post-57437","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-animation","tag-animationstudies","tag-medium","tag-metamorphosed"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v26.4 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The Medium has Metamorphosed | animationstudies 2.0 - Som2ny Network<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/fivemor.com\/?p=57437\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Medium has Metamorphosed | animationstudies 2.0 - Som2ny Network\" \/>\n<meta property=\"og:description\" content=\"This article aims to theorise the metamorphosis of analogue media into digital media, a process enacted by digital media itself. 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