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DIGITAL CINEMATIC TECHNOLOGY and the DEMOCRATIZATION of INDEPENDENT CINEMA Monicamak Graduate Program in Communications Departme

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DIGITAL CINEMATIC TECHNOLOGY and the DEMOCRATIZATION of INDEPENDENT CINEMA Monicamak Graduate Program in Communications Departme DIGITAL CINEMATIC TECHNOLOGY AND THE DEMOCRATIZATION OF INDEPENDENT CINEMA MonicaMak Graduate Program in Communications Department of Art History and Communication Studies McGill University, Montreal August 2007 A thesis submitted to McGiII University in partial fulfilment of the requirements of the degree ofDoctorate. © Monica Mak: 2007 Libraryand Bibliothèque et 1+1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON K1A ON4 Canada Canada Your file Votre référence ISBN: 978-0-494-38613-2 Our file Notre référence ISBN: 978-0-494-38613-2 NOTICE: AVIS: The author has granted a non­ L'auteur a accordé une licence non exclusive exclusive license allowing Library permettant à la Bibliothèque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans loan, distribute and sell theses le monde, à des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, électronique commercial purposes, in microform, eUou autres formats. paper, electranic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in et des droits moraux qui protège cette thèse. this thesis. Neither the thesis Ni la thèse ni des extraits substantiels de nor substantial extracts from it celle-ci ne doivent être imprimés ou autrement may be printed or otherwise reproduits sans son autorisation. reproduced without the author's permission. ln compliance with the Canadian Conformément à la loi canadienne Privacy Act some supporting sur la protection de la vie privée, forms may have been removed quelques formulaires secondaires from this thesis. ont été enlevés de cette thèse. While these forms may be included Bien que ces formulaires in the document page count, aient inclus dans la pagination, their removal does not represent il n'y aura aucun contenu manquant. any loss of content fram the thesis. ••• Canada ABSTRACT This the sis explores the significance of digital cinematic technology within the independent film community. The main objective of this study is to demonstrate how various forms of digital technology (including cameras, non-linear editing software, and projection systems) are "democratizing" the processes of production, post-production, distribution, and theatrical exhibition. RÉSUMÉ Cette thèse explore l'importance de la technologie digitale dans le domaine du cinéma indépendant. Cet ouvrage accorde une attention particulière aux façons dont les technologies numériques (y compris les caméras digitales, les logicieux de montage non-linéaire et les projecteurs de cinéma) représentent "une vraie démocratisation" des pratiques liées à la cinématographie, au montage, à la distribution et à la diffusion (en salle de cinéma) des films indépendants. ACKNOWLEDGEMENTS 1 am deeply indebted to my thesis supervisor Dr. Will Straw for his advice, guidance, and unfailing support throughout my entire research and writing process. 1 also would like to thank Dr. Jonathan Sterne, Dr. Martin Allor, and Dr. Sheryl Hamilton for their helpful suggestions during the early stages of this work. 1 am grateful to Dr. Claudia Mitchell, Dr. Sandra Weber, Dr. Jackie Kirk, and my friends (and fellow GPCers) Leslie Wu and Jessica Wurster for helping me gather essential data for my research. Thanks also to the administrative staff at the Graduate Program of Communications at McGill University. 1 gratefully acknowledge the generous financial support provided by the Dr. Richard H. Tomlinson Doctoral Fellowship, the Bourse des Fonds québécois de la recherche sur la société et la culture (FQRSC) Fellowship, and the Social Science and Humanities Council (SSHRC) Doctoral Fellowship. Many thanks to my parents who have supported me throughout this period. Finally, my heart goes out to my husband Stephen Lee who has been steadfastly by my side throughout this long (and often nerve-wracking) journey. 1 thank him for his numerous pep talks, proofreading and copy editing skills, and shoulder to leanon. TABLE OF CONTENTS CHAPTER ONE: DIGITAL TECHNOLOGY AND THE DEMOCRATlZATION OF INDEPENDENT CINEMA.•••..•••••••••••••••••••• 1 1. INTRODUCfION ........................................................................ 1 1.1. BRIEF HISTORY ..................................................................4 1.1.1. DEFINING THE TERM INDEPENDENT CINEMA ..................... 4 1.1.2. MODES OF PRODUCfION ..................................................6 1.1.3. MODES OFPOST-PRODUCfION ....................................... 14 1.1.4. MODES OFTHEATRICAL DISTRIBUTION AND EXHIBITION ..... , .............................................. ".............. 17 1.2. METHODOLOGY AND CHAPrER BREAKDOWN ......................21 CHAPTER TWO: THEORY, LITERATURE, AND DIGITAL CINEMATIC TECHNOLOGY'S DEMOCRATIC ROLE........................................ 30 2. OVERVIEW OF THEORETICAL CONCEPTS AND LITERATURE SURVEY .................................................................................... 30 2.1. THEORIZING DEMOCRATIC TECHNOLOGY ..........................31 2.2. EXPLORING OTHER NOTIONS OF DEMOCRATIC TECHNOLOGY ...................................................... '" .............35 2.3. FORMULATING SOFf DETERMINISM ................................. .41 2.4. DIGITALCINEMATICTECHNOLOGY =DIGITALCINEMA ...... .47 2.5. SURVEYING LITERATURE ON DEMOCRACY IN DIGITAL CINEMATIC TECHNOLOGY .....................................................49 2.5.1. DIGITAL CINEMATIC TECHNOLOGY AND AESTHETIC REALISM .........................................................................50 2.5.1.1. BEING HAND-HELD AND RESEMBLING AMERICAN CINÉMA VÉRITÉ .......................................................51 2.5.1.2. APPEARING PARED-DOWN ...............................52 2.5.1.3. LOOKING CONVENTIONAL .............................. 54 2.5.2. DIGITAL CINEMATIC TECHNOLOGY AND DIYISM .........55 2.5.3. DIGITAL CINEMATIC TECHNOLOGY AND THE DIGITAL REVOLUTION ...................................................................57 2.5.4. DIGITAL CINEMATIC TECHNOLOGY AND THE BLURRING OF THE HIGH TECH 1LOW TECH DIVIDE ..............................61 CHAPTER THREE: DIGITAL PRODUCTION ..................................64 3. DIGITAL CAMERA TECHNOLOGY: DEMOCRATIZING VISUAL PRODUCTION .............................................................................64 3.1. DIPfYCH OF GOODNESS ...................................................66 3.1.1. CHEAPER COSTS OF SD AND HD DIGITAL TAPE............ 67 3.1.2. SD DIGITAL CAMERA'S USER-FRIENDLINESS VIA PORTABILITY AND MANEUVERABILITY .............................73 3.1.3. SD AND HD DIGITAL CAMERAS' USER-FRIENDLINESS AS A CATALYST FOR A PERSONALIZED FILM EXPERIENCE. .. 74 3.2. DIGITAL CAMERAS: CONDUITS TO AESTHETIC REALISM ......79 3.2.1. BEING HANDHELD AND RESEMBLING AMERICAN CINÉMA VÉRITÉ ..............................................................80 3.2.2. APPEARING PARED-DOWN À LA DOGME .....................84 3.2.3. LOOKlNG CONVENTIONAL. ...................................... 92 3.3. DIGITAL CAMERAS: THE DIGITAL REVOLUTION AND DIYISM .............................................................................. 95 CHAPTER FOUR: DIGITAL POST-PRODUCTION .................................. 105 4. FINAL CUT PRO: DEMOCRATIZING VISUAL POST- PRODUCTION ........................................................................... 105 4.1. FINAL CUT PRO'S DIPfYCH OF GOODNESS .......................... 108 4.1.1. FINAL CUT PRO'S INHERENT COST-EFFECTIVENESS ... I09 4.1.2. FINAL CUT PRO'S INHERENT USER-FRIENDLINESS ...... 116 4.1.2.1. FINAL CUT PRO V. A VID NLE TECHNOLOGY ..... 117 4.1.2.2. DIGITAL NLE TECHNOLOGY V. TRADITIONAL FILM EDITING TECHNOLOGIES ................................. 119 4.2. FINAL CUT PRO: A CATALYST FOR DIYISM AND THE DIGITAL REVOLUTION ...................................................................... 125 4.3. FINAL CUT PRO: CATALYST FOR CREATIVE SELF- EXPRESSION ....................................................................... 132 CHAPTER FIVE: DIGITAL DISTRIBUTION AND EXHIBITION ........ 136 5. DIGITAL PROrnCfION TECHNOLOGY: DEMOCRATIZING CINEMATIC DISTRIBUTION AND EXillBITION ............................... 136 5.1. MOTNES ....................................................................... 140 5.1.1. FINANCIAL MOTNES .............................................. 140 5.1.2. ARTISTIC MOTNES ................................................. 146 5.1.3. TECHNOLOGICAL MOTNES ..................................... 147 5.2. INHERENTLY DEMOCRATIC FUNCfION ............................. 150 5.3. BARRIERS ..................................................................... 166 5.4. A RECAP OF DIGITAL SCREENINGS (THROUGH A SOFT DETERMINIST LENS) ............................................................ 175 CHAPTER SIX: THE FUTURE OF DIGITAL TECHNOLOGY AND THE DEMOCRATIZATION OF INDEPENDENT CINEMA ....................... 181 6. DIGITAL CINEMA: THE NEXT DECADE...................................... 181 REFERENCES ........................................................................ 193 1 CHAPTER ONE: DIGITAL TECIINOLOGY AND THE DEMOCRATIZATION OF INDEPENDENT CINEMA In the twentieth century, cinema
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