By YU TIAN
There is an interrelationship between textual and contextual or structural factors that is made up of moving image aesthetic reception, media, and experience. Therefore, films such as Lord of the Rings, Jurassic Park, Inception, and Avatar are all examples of how digital visual influences have changed filmmaking in Hollywood. As such, it can be argued that such digital transformation in the textual and contextual or structural factors marks a radical break with the cinematic tradition, indicating the loss of serious, realistic movies for real spectacles that are computer-generated (Prince, 2011).
Figure shows an advanced video imaging technology, portraying a global front position of innovative concepts of design that has brought together many senior professional technicians.
In regards to the moving image practices, the digital revolution in the recent years has strengthened the major transformations of the moving images practices. This is achieved whereby the computer has been privileged as not just the facilitator of processes engaged in establishing the works of the moving pictures, but producing the moving images as well (Wells and Hardstaff, 2008).
The moving image extends the existing body of work by presenting a resource that is made up of theory, visual styles, color technology, and the practices of particular filmmakers. There is also the added element of color film restoration to bring up the variety of new perspectives. Aesthetic is also the other image that is connected to design and color form in the moving picture (Brown, Street, and Watkins, 2013).
Prince, S., (2011). Digital visual effects in cinema: The seduction of reality. Rutgers University Press.
Wells, P. and Hardstaff, J., (2008). Re-imagining animation: The changing face of the moving image. Bloomsbury Publishing.
Brown, S., Street, S. and Watkins, L. eds., (2013). Color and the moving image: history, theory, aesthetics, archive. Routledge.