Manovich, L. (2013). Software takes command . Bloomsbury.
Shaviro, S. (2016). Post-cinematic affect. In S. Denson & J. Leyda (Eds.), Post-cinema (pp. 289–308). Reframe Books. : This paper is a conceptual synthesis. No empirical data was collected. The term “Filma25” is used here as a theoretical construct; any resemblance to an existing trademark or product is coincidental. filma25
Denson, S., & Leyda, J. (Eds.). (2016). Post-cinema: Theorizing 21st-century film . Reframe Books. Manovich, L
Filma25, post-cinema, generative AI, algorithmic authorship, decentralized film production, DAO, dynamic narrative. 1. Introduction Cinema has always been a technology-driven art form. From the Lumières’ cinématographe to digital intermediate workflows, each major shift in production and distribution has redefined what “film” means. However, the mid-2020s present a unique inflection point. Generative artificial intelligence (GenAI) now produces moving images from text prompts; blockchain technologies enable decentralized funding through tokenized collectives; and streaming platforms have habituated audiences to algorithmic personalization. Within this context, the term Filma25 emerges from online creator communities, experimental film forums, and speculative design discourse as a shorthand for a new mode of filmmaking—one that is neither purely human-authored nor industrial, neither fixed-length nor theater-bound. Bloomsbury
In parallel, generative AI research in computer vision (Ho et al., 2022; Brooks et al., 2024) has demonstrated text-to-video synthesis with increasing temporal coherence. While early models (Runway Gen-1, Pika Labs) produced short, surreal clips, newer systems (OpenAI’s Sora, Google’s Lumiere) achieve minute-long sequences with causal continuity. For Filma25, these models are not auxiliary tools but central production engines.
