Lee Seon-ju: Cinematheque Art

The expansion of technology and film art is not based on the understanding of film technology as a Dowa industry, but on the importance of defining the history and concepts of motion pictures and re-refining contemporary movie boundaries and capabilities. The study, which supports this, covers the scope of the "standard movie" video and the digital video, digital visual effects, video installations, YouTube, and many other formats and techniques and platforms, called the New Media Age Nobing Image. The important point of view, which is to look at the various ways that technology and art have negotiated historically, is that it does not deal with analogs and digitally in terms of a cut-off history, or it does look at movie history in terms that are evolutionaryly advanced. Instead, it uses Post-Senema in terms of the coexistence of film and digital films and the possibility of a wide range of conversations between them. For this, it explores Jean-Doe Sinema, the video pilia of Gandar and Michael Nate, the Nortalchi film of Post-Sinema, the digital Slow Siege of Pedro Costa and Gia Geanne. We also look at the ‘feminine director and technology ’ in the 21st century of Agnez Varda, who expanded its borders across early movie pioneers Alice Gus Glassche and media and art. We also look at the 21st century through the 'Flighting Movies' and Cho-wook and Park Chan-sang' crowdsource documentary, which despatched modern epics to explore new cinematical narratives.

Korean title: 시네마 테크 아트

Korean author: 이선주

Korean publisher: 박이정

ISBN-13: 9791158483272