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Digital afx: digital dressing and affective shifts in Sin City and 300

Wood, Aylish (2011) Digital afx: digital dressing and affective shifts in Sin City and 300. New Review of Film and Television Studies, 9 (3). pp. 283-295. ISSN 1740-0309. (doi:10.1080/17400309.2011.585860) (Access to this publication is currently restricted. You may be able to access a copy if URLs are provided)

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In Sin City (Robert Rodriguez, 2005) and 300 (Zack Snyder, 2006) extensive post-production work has created stylised colour palettes, manipulated areas of the image, and added or subtracted elements. Framing a discussion around the terms ‘affect’ and ‘emotion’, this paper argues that the digital technologies used in Sin City and 300 modify conventional interactions between representational and aesthetic dimensions. Brian Massumi suggests affective imagery can operate through two modes of engagement. One mode is embedded in a meaning system, linked to a speci?c emotion. The second is understood as an intensi?cation whereby a viewer reacts but that reaction is not yet gathered into an alignment with meaning. The term ‘digital afx’ is used to describe manipulations that produce imagery allowing these two modes of engagement to coexist. Digital afx are present when two competing aesthetic strategies remain equally visible within sequences of images. As a consequence the afx mingle with and shift the content of representations

Item Type: Article
DOI/Identification number: 10.1080/17400309.2011.585860
Uncontrolled keywords: Sin City; 300; emotion; affect; Brian Massumi; digital images; colour
Subjects: P Language and Literature > PB Modern European Languages (inc film, TV and radio studies) > PB2994 Film Studies
Divisions: Faculties > Humanities > School of Arts > Film
Depositing User: Aylish Wood
Date Deposited: 08 Oct 2012 15:59 UTC
Last Modified: 29 May 2019 09:31 UTC
Resource URI: (The current URI for this page, for reference purposes)
Wood, Aylish:
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