Nee a eM ECCS Tae Coan NOS Te TST Se ROR aU CMTC Mata ee ei can Pe aes ROR Rat To eae tee occu machines. De Nijs says, “I'm only offering the steering and the control to the audience to make them more involved, to let them ultimately find out that there is nothing else possible except what the machine dictates, thus actually what | want." The loss of control is something which is experienced Ee oa mer RNa an ieee ete increasing the feeling in viewers that they have lost control of the situation Unmovie Axel Heide, onesandzeros, Philip Pocock, Gregor Stehle Imagine 2 so-called “future cinema” without bloated virtualities, fractured ORM Roo eee eee uM TCU eT OSS CIM ELE Muar OMe cee mae hit mea Seeder eae SER UT a CnC ie Caelter Rican MULE Cd empty realities. Imagine a “future cinema” that doesn't call on apparatus theories to legitimate continuity with a history largely misunderstood by the Sean M See Sat Tu eCourant Ue Cee MC CO a CON merci Ce Cs incidentally, it is not) - or to formulate a digital (and hence “new") cinema represented as an “immaculate reality" (as George Lucas proposed). "New RSS cE ua mn Raia Leen filmmakers equally desperately attempt to abandon “dirty” (also Lucas’ term) OMe ee CUCM LM Le CCE om Ulan SE eC Rm mS MUO mee Orme Ce) as far deeper than a faux database for the reconstitution of the lapsed OULU oe GUS ae CCU Tt CME To oT meee TT evolutionary models, Unmovie (and its group of collaborators) abandons the STC eC aU men eae om MEN iam ie Oe Ceca eee ae eee Cs UE a Emm Ca aa utente cay E | =