Rose's connection of the City Digital Twin and its visual logics and ideologies to the disaster film is an illuminating one, but is articulated through the intensive usage of CGI, formal and stylistic strategies, and narrative and thematic content closely affiliated with the disaster film and other subtypes of the action film genre. If we move beyond the confines of a generic exploration and instead approach the CDT through an ontological model of cinema and cinematic-descended screen media in general, other facets of not only the CDT, but also the city's relationship with image and representation, emerge.
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