Размер шрифта: Фон:

UDC 791.1 + 004.9

DOI: 10.30628/1994-9529-2021-17.3-73-94

Vladyslav V. Nepiypov
Postgraduate student at the School of Design,
Lecturer at the Department of Media,
HSE University,
Khitrovskiy pereulok, 2/8, build. 5, 109028, Moscow, Russia
ResearcherID: B-6619-2019
ORCID: 0000-0003-4266-0624
e-mail: nepiypov@gmail.com

For citation
Nepiypov V.V. Hyperrealism in Digital Cinema (Based on the Analysis of Love, Death & Robots Anthology Series). The Art and Science of Television. 2021. 17 (3), pp. 73–94. https://doi.org/10.30628/1994-9529-17.3-73-94

Hyperrealism in Digital Cinema (Based on the Analysis of Love, Death & Robots  Anthology Series)

Abstract. The article is devoted to the aesthetic features of digital cinematography. Due to the widespread use of computer graphics in films, traditional methods of analyzing cinema are no longer enough. The fusion of graphic and photographic elements and the use of photorealistic graphics enable researchers to take a fresh look at the nature of film. Digital cinema, based on contemporary technologies, no longer builds on the photographic principles of filmmaking and presents a new form of realism and representation of reality on the screen. Objects created with the help of computer graphics can transform and go beyond the simulated real objects, while remaining photorealistic, unable to exist outside the framework of the screen and the particular film. Using classical film studies and philosophical works of Jean Baudrillard, Siegfried Krakauer, André Bazin, Christian Metz and the works of modern researchers of digital cinema such as Lev Manovich, Thomas Elsaesser and Malthe Hagener, the author analyzes the process of transition of digital objects from photorealistic to hyperrealistic ones, which today can be identified as real, while not existing in reality. This phenomenon is of undoubted interest for the academic study of new forms of realism in digital cinema. Based on the analysis of the Snow in the Desert episode from the Love, Death & Robots anthology series, the author traces the development of hyperrealism in digital cinema. Through state-of-the-art digital filmmaking technologies combining both graphic and photographic techniques—motion capture, digital cloning of actors, real-time fluid and environment modelling—we have a new kind of cinematography that is not limited to classical methods of filmmaking, but goes beyond cinema itself, merging with animation and video games. All these processes affect the film aesthetics and make it more malleable, free and less restricted by the classical understanding of motion picture.
Keywords: nature of film, digital film, digital filmmaking, digital realism, photorealism, hyperrealism