Playing the Waves

Abstract

ones) may appear less significant than this common feature – their reliance on lens-based recordings of reality. According to Manovich (ibid. ), film in the digital age is no longer ‘an indexical media technology but, rather, a subgenre of painting’. He describes contemporary cinema as a particular case of animation, one which in the age of the classical, indexical cinema had formed only a marginal genre: Digital cinema is a particular case of animation that uses live-action footage as one of its many elements. ... Born from animation, cinema pushed animation to its periphery only in the end to become one particular case of animation. (Ibid.: ) If film as a media technology has relinquished an indexical relationship with profilmic reality, then there is little point in positing, on the basis of one or another concept of realism, some ‘correct’ relationship between film image and Manifesto and Modernism 27

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