Creative Control: Digital Labour, Superimposition, Datafication, and the Image of Uncertainty
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Creative Control: Digital Labour, Superimposition, Datafication, and the Image of Uncertainty. / Hesselberth, Pepita.
In: Digital Creativity, Vol. 28, No. 4, 2017, p. 332-347.Research output: Contribution to journal › Journal article › Research › peer-review
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TY - JOUR
T1 - Creative Control: Digital Labour, Superimposition, Datafication, and the Image of Uncertainty
AU - Hesselberth, Pepita
PY - 2017
Y1 - 2017
N2 - In this paper I will peruse a specific cinematic example of an uncertain-image, i.e. that of the film Creative Control (Dickinson B, dir. 2015. USA: Ghost Robot | Greencard Pictures | Mathematic | Magnolia Pictures | Amazon Studios). My interest in this film lies not, or at least not per se, or not solely, in its representationalism, but rather in its capturing of various kinds of uncertainty, to which I will here attend by situating the film against the backdrop of three different, yet interrelated, problematics related to the ubiquitous presence of digital imaging technologies: i.e., first, the concerns over digital or immaterial labour and the loss of eros; second, the use of contemporary cinematics (and the superimposition effect in particular) to address these and other issues related to living in ‘information-intensive mixed-reality environments;’ and third, the film's own suggestive counter-image, which is that of the characters’ partly defection, and, arguably, that of the image's own withdrawal from the world.
AB - In this paper I will peruse a specific cinematic example of an uncertain-image, i.e. that of the film Creative Control (Dickinson B, dir. 2015. USA: Ghost Robot | Greencard Pictures | Mathematic | Magnolia Pictures | Amazon Studios). My interest in this film lies not, or at least not per se, or not solely, in its representationalism, but rather in its capturing of various kinds of uncertainty, to which I will here attend by situating the film against the backdrop of three different, yet interrelated, problematics related to the ubiquitous presence of digital imaging technologies: i.e., first, the concerns over digital or immaterial labour and the loss of eros; second, the use of contemporary cinematics (and the superimposition effect in particular) to address these and other issues related to living in ‘information-intensive mixed-reality environments;’ and third, the film's own suggestive counter-image, which is that of the characters’ partly defection, and, arguably, that of the image's own withdrawal from the world.
KW - Faculty of Humanities
KW - superimposition
KW - cinematics
KW - uncertain-image
KW - digital labour
KW - withdrawal
KW - digital imaging
KW - creative control
KW - creative destruction
KW - augmented reality
KW - disconnectivity
KW - connectivity
KW - digital sublime
KW - depression
M3 - Journal article
VL - 28
SP - 332
EP - 347
JO - Digital Creativity
JF - Digital Creativity
SN - 1462-6268
IS - 4
ER -
ID: 184320755