Six-Point Manifesto for Film Schools my ranting about a re-consideration of what cinema is, and the shifting of live-action from a standard to an option, will be nothing new. But it seems I am not alone in finding the evolving visual and aesthetic expectations of the viewer more than just interesting tid-bit but rather representative of a seismic shift in how we should be conceiving, making, producing, articulating, teaching and understanding the moving image.

Lisa Horan has penned an article for ICOM entitled The Evolution of Animation: From Option to Expectation, that takes a very interesting look at the invasive pattern of animated moving images across the diversity of genres and forms. Her perspective is tightly linked to business models meeting client demand but is just as applicable more widely to a shift in broad viewer expectations of what a cinematic 'norm' is?

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New viewer expectations

  By digitalbasin
For those that have read my Six-Point Manifesto for Film Schools my ranting about a re-consideration of what cinema is, and the shifting of live-action from a standard to an option, will be nothing new. But it seems I am not alone in finding the evolving visual and aesthetic expectations of the viewer more than just interesting tid-bit but rather representative of a seismic shift in how we should be conceiving, making, producing, articulating, teaching and understanding the moving image.

Lisa Horan has penned an article for ICOM entitled The Evolution of Animation: From Option to Expectation, that takes a very interesting look at the invasive pattern of animated moving images across the diversity of genres and forms. Her perspective is tightly linked to business models meeting client demand but is just as applicable more widely to a shift in broad viewer expectations of what a cinematic 'norm' is?



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