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Stephen Prince

Digital visual effects bridge art and science in ways that have expanded the expressive tools available to filmmakers. Digital imaging also has enlarged a domain for realism in cinema based on indexical and perceptual factors. Examining these factors, the article questions the visual skepticism that often surrounds discussion of visual effects in film studies. A conjunction of art and science has characterized cinema throughout its history, especially in the era of “philosophical toys” from which the medium originated. The article examines that era in light of what it suggests about digital imaging today and the aesthetic forms that it enables.

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Synthetic Beings and Synthespian Ethics

Embodiment Technologies in Science/Fiction

Jane Stadler

; Humanization of the Digital Film scholar Lisa Purse discusses the “digitization of the human” with reference to Scott Balcerzak's work on performance capture, in contrast to making motion-capture digital effects appear more realistic by “humanizing the

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Raphaël Baroni

was then unrivalled, especially at a time when digital effects did not exist in movies. We must also admit that some authors of this period cautiously avoided confronting the scriptwriting difficulties inherent to a multilinear fabula , either because