363 KB0 KB200120252021Zajc, Melitaštevilka:1letnik:23str. 136-155COBISSID:103817731ISSN:1580-688XURN:URN:NBN:SI:doc-37Y33TFHenAlma Mater Europaea-Institutum Studiorum Humanitatis, Fakulteta za podiplomski humanistični študijMonitor ISHdigitalizacijafilmFilmifilmska industrijafilmsko občinstvoRazširjanje kulturespletna kinematografijaFilm after the cinema| cinematographic dispositive transformed| cultural implications of the online distribution of films|The digital transformation that was already taking place in all spheres of human life was further accelerated by the coronavirus pandemic. As governments were trying to keep the virus in check, cinemas have been forced to shut down all over the world. Simultaneously, the streaming of films witnessed unprecedented growth and the fears that the cinema as we knew it might come to an end abounded. Yet the death of cinema has been predicted before, most notably with the introduction of television in the 1950s and the advent of video cassettes in the 1980s. The question is, does the recent digital transformation differ from these events? There exists an impressive theoretical tradition in studying the implications of digital technologies for the film medium and this article turns to this tradition for the answer. The focus is on the concept of “the cinematographic dispositive” (“le dispositif cinematographique” in French) as the situation in which films are being watched, connecting the apparatus of distribution and projection on the one hand, and the viewer as the concrete, idiosyncratic, individual person watching the film on the other. As such, it proves to be a particularly suitable concept for the study of the recent transformation and its implications for film medium as well as for culture and society at largeDigitalno preobrazbo, ki je potekala na vseh področjih človeškega življenja, je pandemija koronavirusa še pospešila. Da bi obvladale virus, so vlade širom sveta zapirale kinematografe. Hkrati pa je distribucija filmov na spletu doživela strmo rast in to je povečalo strahove, da je filma, kot smo ga poznali dotlej, nepreklicno konec. Vendar pa so smrt filma napovedovali že prej, predvsem ob uvedbi televizije v petdesetih letih prejšnjega stoletja in ob pojavu video kaset v osemdesetih. Vprašanje je, ali se nedavna digitalna preobrazba razlikuje od teh dogodkov? Obstaja impresivna teoretska tradicija preučevanja implikacij digitalnih tehnologij za filmski medij in ta članek se je pri iskanju odgovora obrnil na to tradicijo. Poudarek je na konceptu »kinematografskega dispozitiva« (v francoščini »le dispositif cinematographique«) kot situacije, v kateri filme gledamo, in ki poveže aparat distribucije in projekcije na eni strani ter gledalca kot konkretno, idiosinkratično, individualno osebo, ki gleda film na drugi strani. Kot tak se izkaže za posebej primeren koncept za preučevanje nedavne preobrazbe in njenih posledic za filmski medij pa tudi za kulturo in družbo nasplohTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaInstitutum Studiorum Humanitatis - Fakulteta za podiplomski humanistični študij