In April 2007 at the National Association of Broadcasters convention in Las Vegas, High Definition changed forever. Whereas previous HD cameras had cost half a million dollars, Jim Jannard, a sunglasses manufacturer from Canada, managed to develop a new camera, called the ‘Red One,’ retailing at $17,500. This development signaled a change in the production of High Definition that was announced through its initial naming. The titling – ‘High Definition’ – was meant to align the new technology with film, giving it more of a sense of quest than analog video, more of a sense of flight, a sense of the arcane, the hidden, thus producing something to aspire to and engendering a sense of being elite, in turn, evoking some of film’s prior sense of mystery. In the article that follows I explore the rapidly changing face of HD and its impact in terms of technical, aesthetic and societal perspectives.
|Translated title of the contribution||The Technologies, Aesthetics, Philosophy and Politics of High Definition Video|
|Pages (from-to)||44 - 55|
|Number of pages||11|
|Journal||Millennium FIlm Journal|
|Publication status||Published - 2009|