Abstract
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 |
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Original language | English |
Pages (from-to) | 44 - 55 |
Number of pages | 11 |
Journal | Millennium FIlm Journal |
Volume | No 52 |
Publication status | Published - 2009 |