Camera as space, image as affection
Speed Racer and the counter-aesthetics of digital cinema
DOI:
https://doi.org/10.30962/e-comps.3206Keywords:
Digital cinematography, Post-cinema, CGIAbstract
This article investigates the film Speed Racer (Wachowskis, 2008) as a critical break from the hegemony of digital photorealism in contemporary cinema. From a theoretical-analytical approach, based on authors such as Manovich, Shaviro and Brown, the study examines how the film mobilizes CGI in an expressive and anti-naturalistic way. The aim is to demonstrate that Speed Racer symbolizes a digital counter-aesthetic that privileges opacity, sensation and abstraction. The formal analysis of the film reveals an innovative use of spatial montage and the plastic image, concluding that it anticipates current trends in post-cinematic cinema and proposes a new perceptual regime for the digital spectator.
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