Lev Manovich presents the first systematic theory of new media, arguing that its origins are deeply embedded in the histories of old media, particularly cinema. He analyzes how new media relies on conventions from older forms, such as the rectangular frame and mobile camera, to create illusions of reality, address viewers, and represent space. The book explores the parallels between the histories of cinema and new media, including digital cinema, screen, and montage.
Manovich also identifies and analyzes categories and forms unique to new media, such as interface and database. By drawing on concepts from film theory, art history, literary theory, and computer science, he develops new theoretical constructs to understand new media's cultural impact and evolution.
Key concepts
- Cultural Interface — A theoretical construct developed by Manovich to analyze new media's interaction with culture.
- Spatial Montage — A theoretical construct developed by Manovich for analyzing new media.
- Cinegratography — A theoretical construct developed by Manovich for analyzing new media.
- Interface — A category and form unique to new media discussed in the book.
- Database — A category and form unique to new media discussed in the book.
Popular questions readers ask
- If you had to explain Manovich's core argument about new media's origins in old media to someone completely unfamiliar with the concept, how would you simplify it using an example not explicitly mentioned in the text?
- Manovich places new media within "histories of visual and media cultures" while also analyzing "categories and forms unique to new media." How do these two perspectives—historical continuity versus unique innovation—interact and potentially create tension within his overall theory?
- The text states Manovich discusses new media's reliance on conventions like the "rectangular frame and mobile camera." How might applying the concept of a "rectangular frame" from cinema to a modern social media interface (e.g., an Instagram feed) reveal both continuity and a fundamental shift in how we understand space and viewing?
- Manovich draws from diverse fields like film theory, art history, literary theory, and computer science. Choose one of his new theoretical constructs mentioned, such as "cultural interface" or "spatial montage," and explain how it necessitates this interdisciplinary approach to fully grasp its meaning and significance.
- Given cinema's "particularly important role" and its parallels with new media, how might understanding the "historical ties between avant-garde film and new media" provide a different or more nuanced perspective than simply looking at mainstream cinema's influence?