Abstract

The digital surface in cinema has, throughout its relatively brief history, been subject to a familiar “iconophobic” tendency, documented by Rosalind Galt, to denigrate surface decoration as “empty spectacle”. In early scholarship on computer generated images in cinema, the digital surface's alleged seamlessness and “new depthlessness” frequently became an overdetermined nexus of loss: of material presence, of an indexical relation to the world and lived experience, and of the continuation of older traditions of narrative cinema. Today, digital visual effects sequences in mainstream cinema continue to be framed by film reviewers in negative terms: as variously lacking imagination, realism, narrative depth, and affective power. Digital visual effects and digital media scholarship have done much to reclaim the cultural significance of mainstream digital visual effects sequences and their capacity to speak to a rapidly evolving and increasingly encompassing digital media ecology. Yet the f...