As DVD authoring has improved, one hears fewer remarks about video artifacts.
But a new genre of com-plaint has arisen among younger viewers of the for-mat.
On Web pages and discussion forums, viewers complain about strange-looking
lines and flecks and dots that sometimes appear in the video image. "What are
these?," they ask. These are, of course, scratches and emulsion flecks on the film
original used for the DVD, and grains in the camera stock-all familiar enough to
those of us who grew up watching cinema on film. But to younger viewers, for
whom cinema is a video experience, these are filmic artifacts, odd ves-tiges of a
medium that for them is prehistoric
It's rou-tine, now, when authoring a DVD release of a movie, especially an older
one, to run a software program that will erase scratches and flecks of dirt from the
image. Actually, we should be retaining these things, not eras-ing them. On the
shiny, silver DVD disk they are all that remain of cinema as a material medium,
reminders of the medium's physical state in its pre-millennial form. To those of us
who loved the medium in this in-carnation, let's celebrate the dirt, the scratches, the
grain, greet them as old friends when we encounter them on DVD. In the clean,
crystal-clear, and diamond-sharp world of digital video, they are the ghostly traces
of our former love, artifacts of the stuff that dreams once were made of.
I agree that in general, the new media landscape allows for more
democratic participation and diversity of content. As Jenkins points out,
"convergence represents a cultural shift as consumers are encouraged to
seek out new information and make connections among dispersed media