By Duncan J. Petrie
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Extra resources for Creativity and Constraint in the British Film Industry
On Nineteen Eighty Four the final result had tended towards blue tones, while this time the tonal emphasis was towards browns. In each case the technology contributed significantly to the visual impact and atmosphere of the film. Moving on to editing equipment, the basic choice is between the upright Moviola, originally developed in Hollywood, and flat-bed editing tables such as the Steenbeck with was first introduced in Germany during the 1930s but did not become popular in America until the late sixties.
Hence the applications of broad technologies such as electronic technology or chemical technology to particular problems generated within the specific context of film-making. It quickly becomes apparent that this process is similar to that of artistic creativity. The material context essentially determines the nature of problems and provides particular resources and constraints within which solutions may or may not be generated. Creativity in the field of technology is therefore similar to that in film-making itself, structured by constraints and possibilities.
I shall look at the relationship between technology and aesthetics and then at how existing technology can be utilised in innovative ways, with particular regard to British cinema history - a national cinema not normally noted for its innovative uses of film technology. Finally, the issue of film technology in relation to current production will be explored: the resources available and expanding applications of video technology. THE CRITIQUE OF TECHNOLOGICAL DETERMINISM The historical process of technological invention and innovation and its relationship to issues of film practice and aesthetics has generated great controversy in recent years.
Creativity and Constraint in the British Film Industry by Duncan J. Petrie