Screen Technologies

Observations and interview transcript from Kamaroi Rudolph Steiner School in Sydney, Australia, focusing on how the arts are integrated into all learning in the curriculum, as well as how the school as avoided the use of technology.

This paper is an enhanced transcription of two lectures given as part of the University of Sydney Massively Open Online Course (MOOC), The Place of Music in 21st Century Education, published on Coursera (Humberstone, 2016) that has been edited in order to provide the clearest possible communication to the course participants. Additional context from the original scripts that was omitted from the video and/or occasional clarifying screenshots may have been added for greater understanding. Each of the 36 short content lectures in this series either presents the author’s synthesis of the literature on a particular topic with his own research and practice; or is an observation or interview to further explore the topic beyond the confines of published literature. In most cases the intention is not to present new data (although many of the interviews published in this series become, in their own right, primary source material) or findings, nor to publish a “position” on a particular topic, but to illustrate that taking a position is incredibly difficult when the literature is in a state of contradiction and flux; the intention, instead, is to provoke critical thinking in the course participant. The lectures are best understood in their original format: video.

바쟁은 영화가 소리와 컬러와 깊이감의 테크놀로지를 통해 이르지 못한 사실주의 경지 에 비로소 시네마스코프를 통해 완전히 도달 할 수 있다고 확신했다. 바쟁에게 시네마 스코프는 완전영화라는 절대적이고 초월적인 리얼리즘의 완성을 현실화할 수 있는 바 로 그러한 완전한 테크놀로지였다. 이 논문은 󰡔영화란 무엇인가?󰡕에서는 파편적으로 읽을 수밖에 없었던 완전영화와 영화 테크놀로지의 관계, 혹은 보다 보편적으로 영화 와 테크놀로지에 대한 바쟁의 사유를 더들리 앤드류(Dudley Andrew)가 엮고 번역한 󰡔앙 드레 바쟁의 뉴미디어 André Bazin's New Media󰡕에 실린 시네마스코프와 시네라마 그 리고 3D 영화에 관한 글을 통해 분석한다. 첫째, 본 논문은 바쟁이 어떠한 이유에서 시 네마스코프를 완전영화의 테크놀로지로서 간주했는지를 3D와 시네라마에 대한 바쟁 의 비판적 시각과 비교해 들여다볼 것이다. 둘째, 본 논문은 바쟁이 완전영화를 구성하 는 영화적 이미지로서 제시한 '공간영화 the cinema of space' 개념을 바쟁의 기존의 영 화적 공간에 대한 이해와 접목하여 구체적으로 설명하고, '공간영화'의 현재적 의미를 뉴미디어의 '몰입감'과 연결하고자 한다.

André Bazin argued that the emergence of CinemaScope, Cinerama, and 3D in the 1950s opened the era of a cinema of space where the integrity of the real is to be restored truly spatially beyond spatialised time, the form of montage. He envisioned the complete rendering of space with the spectator’s participating perception and, in this respect, took the immersive screen technologies decisive steps toward his concept of total cinema. Bazin, however, thought that the cinema of space might not be
completed even with all the cinematic images available in the age of film. In this paper, I will introduce Bazin’s concept of ‘cinema of space’ that he envisioned through the immersive screen technologies of the 1950s as it
can be associated not only conceptually but also practically with the immersive nature of post-cinematic images in the 21st century.