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Cinematic AppealsThe Experience of New Movie Technologies$
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Ariel Rogers

Print publication date: 2013

Print ISBN-13: 9780231159173

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231159173.001.0001

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Awe and Aggression

Awe and Aggression

The Experience of Erasure in The Phantom Menace and The Celebration

(p.141) 4 Awe and Aggression
Cinematic Appeals

Ariel Rogers

Columbia University Press

This chapter studies the aesthetic transformations accompanying the technological shift in the late 1990s, focusing on two films widely identified as watersheds for digital cinema: George Lucas's Star Wars: Episode I—The Phantom Menace (1999) and Thomas Vinterberg's The Celebration (1998). The pervasive and intricate use of computer-generated imagery (CGI) in The Phantom Menace not only provoked a sense of awe in terms of its technological excellence, but also addressed contemporary concerns with the boundaries of human life, inviting viewers to marvel at its devaluation. While The Phantom Menace's use of CGI allows for the proliferation of detail, The Celebration's use of consumer-grade digital video cameras produces a low-resolution aesthetic, especially in long shots and low-light situations.

Keywords:   digital cinema, George Lucas, The Phantom Menace, Thomas Vinterberg, The Celebration, digital video cameras

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