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The digital-celluloid filmmaking divide

by Forrest Wickman.

Writing about the transition from celluloid to digital filmmaking tends to take an elegiac tone.

“Cinema as we know it is dead,” wrote Matt Zoller Seitz in his obit for the movie camera in Salon. “Will Classic Movies Ever Look the Same Again?” wondered the Atlantic in a feature this past November. “The advent of digital . . . may well be the final blow to the dying art of the projectionist,” wrote LA Weekly.

“The celluloid dream may live on in my hopes, but digital commands the field,” said a wistful Roger Ebert in his appraisal on “The Sudden Death of Film.” At least a portion of critics are self-conscious about this: “It’s become difficult to parse out how much of my grief is rooted in nostalgia and how much of it applies to real concerns about how the landscape is changing,” confessed Scott Tobias of the A.V. Club. I could go on.

Read the rest of this article from Mercury News.

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