Digital visual effects in contemporary Hollywood cinema aesthetics, networks and transnational practice

Abstract

This research aims to provide new knowledge about the aesthetics of digital visual effects in contemporary Hollywood cinema in the context of national, transnational and global compositing practices. Combining contextual research, fieldwork and film analysis, this research reveals that the aesthetics of digital visual effects in Hollywood film is the manifestation of complex factors such as technological innovation, time and invisible labour, global business model of Hollywood film industry, and the conditions of creative autonomy of digital visual effects artists. Furthermore it examines the causes and effects of the involvement of multiple globally located digital visual effects companies in single Hollywood films. Research into this area is underpinned by comparing digital visual effects in films from Hollywood and China, as well as systematic studies of the Hollywood digital visual effects company Pixomondo and the Chinese film industry. It reveals that the transnational digital visual effects practice is informed by several factors, which include: the fixed bidding process in the Hollywood digital visual effects industry, tax subsidies offered by governments such as the UK, the lower labour costs in countries such as India; as well as emerging markets in world cinema. This thesis also argues that transnational digital visual effects practice leads to the adoption of Hollywood aesthetics of digital visual effects to world popular cinema.

Date of Award	23 Jun 2020
Original language	English
Awarding Institution	The University of Bristol
Supervisor	Kristian O Moen (Supervisor) & Angela Piccini (Supervisor)