ABSTRACT
All contemporary cinema is digital. One of the ways everything changes concerns the political economy of world cinema. Like digital money, new technologies also enable a radical globalisation of cinema production. Network media allow transnational productions to synchronise shoots, effects and postproduction across time-zones. Digitisation of archive footage also creates a resource for new films. The distinction between analogue and digital imaging dominated the critical literature on digital cinema in the late 2000s. Although theatrical release still provides the trigger for a mass of pre- and post-release marketing, the film itself appears as trailers and teasers for weeks, sometimes months ahead of release. Subsequent releases in multiple formats engage audiences in multiple experiences, from the physical to the digital. The mass circulation combines with intensely personalised experience and cultural capital so as to create a curiously contradictory intersection of individual and mass in the digital consumption of films.
