Welcome to our book review site go-pdf.online!
You may have to Search all our reviewed books and magazines, click the sign up button below to create a free account.
Screen Space Reconfigured
Screen Space Reconfigured is the first edited volume that critically and theoretically examines the many novel renderings of space brought to us by 21st century screens. Exploring key cases such as post-perspectival space, 3D, vertical framing, haptics, and layering, this volume takes stock of emerging forms of screen space and spatialities as they move from the margins to the centre of contemporary media practice. Recent years have seen a marked scholarly interest in spatial dimensions and conceptions of moving image culture, with some theorists claiming that a 'spatial turn' has taken place in media studies and screen practices alike. Yet this is the first book-length study dedicated to on-screen spatiality as such. Spanning mainstream cinema, experimental film, video art, mobile screens, and stadium entertainment, the volume includes contributions from such acclaimed authors as Giuliana Bruno and Tom Gunning as well as a younger generation of scholars.
Screening the Operatic Stage
"From the early days of radio broadcast to today's recorded simulcasts and live online productions, opera houses have embraced technology as a way to reach new audiences. But how do these new forms of remediated opera extend, amplify, or undermine production values, and what does the audience gain or lose in the process? In Screening the Operatic Stage, Christopher Morris critically examines the cultural implications of opera's engagement with screen media. Foregrounding a playful exchange and self-awareness between stage and screen, Screening the Operatic Stage analyzes how opera sees itself on video. Morris uses the conceptual tools of media theory to understand the historical and contemporary screen cultures that have transmitted the opera house into living rooms, onto desktops and portable devices, and across networks of movie theaters. These screen cultures reveal how inherently "technological" opera is as a medium, begging the question of whether it can be understood independently of technology. Ultimately, Screening the Operatic Stage shows how the technologies of televisual representation employed in opera reinforce its audience's expectations for the genre"--
3-D Cinema and Trauma
This book examines 3D cinema across the early 1950s, the early 1980s, and from 2009 to 2014, providing for the first time not only a connection between 3D cinema and historical trauma but also a consideration of 3D aesthetics from a cultural perspective. The main argument of the book is that 3D cinema possesses a privileged potential to engage with trauma. Exploring questions of representation, embodiment and temporality in 3-D cinema, the book takes an interdisciplinary approach, offering a compelling analysis to a combination of box office favorites and more obscure films, ranging across genres such as horror, erotica, fantasy, science fiction, and documentaries. Weaving theoretical discussions and film analysis this book renders complex theoretical frameworks such as Deleuze and trauma theory accessible.
Enacting the Worlds of Cinema
Enacting the Worlds of Cinema offers a substantial reconfiguration of the textual roots of modern film narratology. By giving sustained attention to cinema's material-affective modes of communicating its stories and embedding its audience in atmospheric, kinetic, and multisensorial worlds, this book maintains that film narratives are less representations than they are enactments; brought forth through the interactions of the felt body and the film material. The book defends this enactive and media-anthropological thesis by reworking a series of established film narratological key concepts including the diegesis, mood/atmosphere, and the distinction between diegetic and non-diegetic sound. In the process, this book draws on a wide range of contemporary theoretical resources such as affective neuroscience, media-philosophy, philosophy of mind, atmosphere research, multisensory perception theory as well as a broad selection of films including Berlin: Symphony of a Great City (Ruttmann, 1927), The Cranes are Flying (Kalatozov, 1957) and Happy as Lazzaro (Rohrwacher, 2018).
Critical Concepts for the Creative Humanities
This concise, precise, and inclusive dictionary contributes to a growing, transforming, and living research culture within both humanities scholarship and professional practices within the creative sectors. Its format of succinct starting definitions, demonstrations of possible routes of further development, and references to new and revisited concepts as “conceptual invitations” allows readers to quickly uptake and orient themselves within this exciting methodological field for didactic, scholarly and creative use, and as a starting point for further investigation for future contributions to the new canon of critical concepts. Critical Concepts for the Creative Humanities is the first book to outline and define the specific and evolving field of the creative humanities and provides the field’s nascent bibliography.
The Channeled Image
A fascinating look at artistic experiments with televisual forms. Following the integration of television into the fabric of American life in the 1950s, experimental artists of the 1960s began to appropriate this novel medium toward new aesthetic and political ends. As Erica Levin details in The Channeled Image, groundbreaking artists like Carolee Schneemann, Bruce Conner, Stan VanDerBeek, and Aldo Tambellini developed a new formal language that foregrounded television’s mediation of a social order defined by the interests of the state, capital, and cultural elites. The resulting works introduced immersive projection environments, live screening events, videographic distortion, and televis...
The Shape of Motion
"Cinematic motion has long been celebrated as an emblem of change and fluidity or claimed as the source of cinema's impression of reality. But such general claims undermine the sheer variety of forms that motion can take onscreen-the sweep of a gesture, the rush of a camera movement, the slow transformations of a natural landscape. What might we learn about the moving image when we begin to account for the many ways that movements move? In The Shape of Motion: Cinema and the Aesthetics of Movement, Jordan Schonig provides a new way of theorizing cinematic motion by examining cinema's "motion forms:" structures, patterns, or shapes of movement unique to the moving image. From the wild and unp...
Urban Images
A collection of eleven new essays by internationally renowned scholars and artists navigating the vast interdisciplinary territory defined by visual art, architecture and the moving image.
Reflexionen des stereoskopischen Spielfilms
Der stereoskopische Unterhaltungsfilm, der sogenannte 3D-Film, ist integraler Bestandteil der Filmgeschichte. Luisa Feiersinger verfolgt in einer longue durée die sich wandelnden narrativen, technischen und diskursiven Anordnungen am Beispiel ausgewählter Unterhaltungsfilme. Dabei zeigt sie, dass gerade im populären Format diese Anordnungen immer wieder selbstreflexiv in die Narrationen verwoben werden. Filmwissenschaftliche Untersuchungsmethoden zur Beschreibung der nur in der Wahrnehmung existierenden stereoskopischen Bewegt- und Raumbilder dienen als exemplarischer Vorschlag zur Integration von Bewegtbildern in die Kunst- und Bildgeschichte.
Die Filmkultur des Making-of
Filmen sieht man nicht vollständig an, wie sie gemacht wurden. Einblicke in ihre Herstellung liefern jedoch andere Filme: Making-ofs, Filme über Filmproduktion, die sich bis ins frühe Kino zurückverfolgen lassen. Making-ofs breiten sich in der post-kinematografischen Medienkultur des frühen 21. Jahrhunderts explosionsartig aus. Felix Hasebrink analysiert ihre Formen und Verbreitungswege in unterschiedlichen Kontexten: Dokumentarfilm, Home Video, Social Media und Festivalkino. In dieser Perspektive sind Making-ofs weitaus mehr als filmindustrielles Marketing - sie machen darauf aufmerksam, wie das Medium Film heute seine eigenen Produktionsbedingungen ästhetisch bearbeitet.
