Jump to ContentJump to Main Navigation
From Light to ByteToward an Ethics of Digital Cinema$
Users without a subscription are not able to see the full content.

Markos Hadjioannou

Print publication date: 2012

Print ISBN-13: 9780816677610

Published to Minnesota Scholarship Online: August 2015

DOI: 10.5749/minnesota/9780816677610.001.0001

Show Summary Details
Page of

PRINTED FROM MINNESOTA SCHOLARSHIP ONLINE (www.minnesota.universitypressscholarship.com). (c) Copyright University of Minnesota Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in MNSO for personal use.date: 23 September 2021

Spatial Coordinates

Spatial Coordinates

In between Celluloid Strips and Codified Pixels

(p.103) 3 Spatial Coordinates
From Light to Byte

Markos Hadjioannou

University of Minnesota Press

This chapter explores the spatial framework between the numerical and interactive screen and the spectator/user of celluloid. Before discussing digital spatiality, it considers the technical operations of the two technologies to highlight the sense of space, or the spatial regime, that they conjure up. Contrary to the unification of disparate spaces that celluloid film achieves, the digital organizes its information continually as a functional and consistently defined geometric fragmentation. Focusing on the forms and meanings of this fragmentation, the chapter examines the spatial configuration of the digital image, first by turning to celluloid constructions to determine where the difference between the numerical and interactive screen may lie. In particular, it explains how the two technologies form the spatial arrangement of their digital images, or how their images are shaped. To this end, Norman McLaren’s short movie Blinkity Blank (1955) is reviewed. The chapter also analyzes Georg Friedrich Bernhard Riemann’s notion of space in relation to Euclidean geometry, along with the concept of morphing within the context of digital space.

Keywords:   numerical screen, interactive screen, digital spatiality, celluloid film, digital images, Blinkity Blank, Georg Friedrich Bernhard Riemann, morphing, digital space

Minnesota Scholarship Online requires a subscription or purchase to access the full text of books within the service. Public users can however freely search the site and view the abstracts and keywords for each book and chapter.

Please, subscribe or login to access full text content.

If you think you should have access to this title, please contact your librarian.

To troubleshoot, please check our FAQs, and if you can't find the answer there, please contact us.