Andrew Utterson – författare

Technology and Culture: The Film Reader brings together key theoretical texts from more than a century of writing on film and technology. It begins by exploring the intertwined technologies of cinematic representation, reproduction, distribution and reception, before locating the technological history of cinema as one component of an increasingly complex technological culture.The selected articles encompass a range of disciplines, perspectives and methodologies, reflecting the multiplicity of contemporary approaches to technology. They are grouped into four thematic sections, each with an introduction by the editor.Origins and Evolution - examines the lineage of cinema's machines, while challenging the received notion that cinema began with a discrete moment of inventionDefinitions and Determinism - redefines technology, moving beyond an isolated description of cinema's physical tools to consider the forces that play a part in shaping their form and functionProjections and Aesthetics - analyzes the exchange between cinematic and other technologies, in terms of cinema's capacity to reflect on and negotiate technologies other than its ownContexts and Consequences - situates the technologies of cinema within a broader framework, charting their engagement with the spheres of discourse at work within society

Channelling a focus on the history of cinema into the present and beyond, Persistent Images: Encountering Film History in Contemporary Cinema explores the continuing resonance of the memory of cinema as revealed in the technological and aesthetic expressions of a range of experimental practices. With case studies of films that reflexively foreground and creatively reimagine the past, including Shirin (2008), Goodbye to Language (2014) and Francofonia (2015), the book demonstrates how the medium of film can look simultaneously backwards and forwards, encountering and reframing the past in the present, and offering new ways of thinking about both film history and contemporary cinema alike.

Andrew Utterson''s unique study charts the beginnings of digital cinema, addressing both how filmmakers used new digital technologies and how attitudes and anxieties about the rise of the computer were represented in films such as Lang''s Desk Set, Godard''s Alphaville, Kubrick''s 2001: A Space Odyssey and Crichton''s Westworld.

Andrew Utterson''s unique study charts the beginnings of digital cinema, addressing both how filmmakers used new digital technologies and how attitudes and anxieties about the rise of the computer were represented in films such as Lang''s Desk Set, Godard''s Alphaville, Kubrick''s 2001: A Space Odyssey and Crichton''s Westworld.

Andrew Utterson's unique study charts the beginnings of digital cinema, addressing both how filmmakers used new digital technologies and how attitudes and anxieties about the rise of the computer were represented in films such as Lang's Desk Set, Godard's Alphaville, Kubrick's 2001: A Space Odyssey and Crichton's Westworld.

Andrew Utterson's unique study charts the beginnings of digital cinema, addressing both how filmmakers used new digital technologies and how attitudes and anxieties about the rise of the computer were represented in films such as Lang's Desk Set, Godard's Alphaville, Kubrick's 2001: A Space Odyssey and Crichton's Westworld.

Technology and Culture: The Film Reader brings together key theoretical texts from more than a century of writing on film and technology. It begins by exploring the intertwined technologies of cinematic representation, reproduction, distribution and reception, before locating the technological history of cinema as one component of an increasingly complex technological culture.The selected articles encompass a range of disciplines, perspectives and methodologies, reflecting the multiplicity of contemporary approaches to technology. They are grouped into four thematic sections, each with an introduction by the editor.Origins and Evolution - examines the lineage of cinema's machines, while challenging the received notion that cinema began with a discrete moment of inventionDefinitions and Determinism - redefines technology, moving beyond an isolated description of cinema's physical tools to consider the forces that play a part in shaping their form and functionProjections and Aesthetics - analyzes the exchange between cinematic and other technologies, in terms of cinema's capacity to reflect on and negotiate technologies other than its ownContexts and Consequences - situates the technologies of cinema within a broader framework, charting their engagement with the spheres of discourse at work within society