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This chapter explores the notion of digital film production ‘time’ By examining the various different temporalities of film production. Drawing primarily upon the case-study materials of Ginger & Rosa, the chapter maps the 2012 moment of transition from working with film to working with data, and the hybrid practices and protocols that manifested as a result. It examines how the introduction of new technologies and digital processes challenged the orthodoxies of long-established film industry production practice including how workflow patterns were effected with the advent of the digital in film production. The chapter includes the proposition of a ‘Creative Core’ Structure of Production model with which to understand the determinants and impacts of on-set workflow, illuminating the emergence a specific aesthetic of production which is referred to as ‘workflow-warp’ and ‘workflow-weft.’ The former refers to the temporal bending of the traditional film structure and pace out of shape, and the latter – the process of weaving together a complex blend of the film and the digital into an inextricable tapestry.

This chapter disentangles the deeply ingrained celluloid practices of digital film production. Through the examination of embodied practices, onset processes and protocols, including considerations of filmmaking iconography in hardware design, software and interface aesthetics. The origins of the often perplexing film and celluloid skeuomorphs are also traced. The chapter considers the reasons for the persistence of these practices which conversely seek to simultaneously erase the analogue whilst at the same time mask the use of the digital medium. In its close textual examination of Digital Film Production Space, the chapter includes detailed considerations of the attendant ‘production apparatus’ of Ginger & Rosa (which is the same apparatus used by the film industry in a diversity of national contexts) and the manifestation of the film in digital and virtual representations – proposing a ‘Production Aesthetic’ which visually characterizes the making of the film. The chapter includes a consideration of ‘celluloid pedagogies’, and how the various practitioners on Ginger & Rosa learned their crafts, and how they describe them through material practices and tactile experience.

This chapter examines the impact of new media on contemporary Japanese cinema, especially the horror film genre “J-horror.” Through an analysis of Shimizu Takashi's 2004 film Marebito, it considers J-horror's affinity with digital technology not only on the level of production and distribution but also on the level of its self-reflexive narrative as the technology merges with the protagonist's own cognition. Before examining the role of digital production in J-horror films, the chapter discusses the relationship between J-horror as a film genre and as a film movement. It then explores the ongoing contestation and negotiation between cinema and new media by assessing the impact of new media on the transnational horror boom from Japan to East Asia and finally to Hollywood. It also looks at the presence of Japanese cinema in the global marketplace and frames J-horror's emergence since the 1990s as a form of transmedia commodity, one that is based less on theatrical modes of exhibition than on new digital media.

Since the beginning of the twenty-first century, digital technology has connected adolescents to a global youth culture that subverts and bypasses traditional means of consuming music. In health-related contexts, adolescents can use digital tools to sample, edit, layer, manipulate, and record their own soundscapes, which allows them to have agency over their own narratives and share them with others. Concurrently, therapists acquire empathy for the lived experience of an adolescent by understanding the use of, and attuning to, the digital production components of songs used and created in therapy. Using the author’s first-person experience with digital technology and adolescents in music therapy, this chapter investigates the evolving role of digital music and media for both adolescents and therapists, exploring the ways it can (re)connect youth to a global community and have their voices heard.

While film itself may vanish, for most audiences, the “films” themselves will remain, and audiences, now adjusted to viewing moving images in a variety of different ways, will still want to see their dreams and desires projected on a large screen for the visceral thrill of the spectacle, as well as the communal aspect inherent in any public performance. Film is indeed disappearing, but movies are not. If anything, they are more robust than ever, and are shot in a multiplicity of formats that boggle the mind; analog video, digital video, conventional film, high definition video, on cell phones and pocket-size hard drive fixed focus, auto exposure cameras, and a host of other platforms now just emerging from the workshop of image making. With more films, videos, television programs, and Internet films being produced now than ever before, and with international image boundaries crumbling thanks to the pervasive influence of the world wide web, we will see in the coming years an explosion of voices from around the globe, in a more democratic process which allows a voice to even the most marginalized factions of society.