Necsus. European Journal of Media Studies最新文献_第5页

River-to-River Florence Indian Film Festival: The Italian response to Bollywood cinema 佛罗伦萨河到河印度电影节:意大利对宝莱坞电影的回应

Necsus. European Journal of Media Studies Pub Date : 2014-12-31 DOI: 10.5117/NECSUS2014.2.ACCI

M. Acciari

引用次数: 1

Cinema, postmedia, and resolutions 电影、后媒体和分辨率

Necsus. European Journal of Media Studies Pub Date : 2014-12-31 DOI: 10.5117/NECSUS2014.2.VALE

Donatella Valente

引用次数: 0

Appropriation / Collaboration: Christian Marclay / Harrell Fletcher & Miranda July at the University of Michigan Museum of Art 挪用/合作:密歇根大学艺术博物馆的Christian Marclay / Harrell Fletcher & Miranda July

Necsus. European Journal of Media Studies Pub Date : 2014-12-31 DOI: 10.5117/NECSUS2014.2.TUNG

Tung-Hui Hu

引用次数: 0

Progressive spaces and lines of battle: Bristol Radical Film Festival 2014 进步的空间和战线:2014年布里斯托尔激进电影节

Necsus. European Journal of Media Studies Pub Date : 2014-12-31 DOI: 10.5117/NECSUS2014.2.NEWT

J. Newton

引用次数: 0

Reconfiguring film studies through software cinema and procedural spectatorship 通过软件影院和程序观影重新配置电影研究

Necsus. European Journal of Media Studies Pub Date : 2014-12-31 DOI: 10.5117/NECSUS2014.2.HASS

Marina Hassapopoulou

{"title":"Reconfiguring film studies through software cinema and procedural spectatorship","authors":"Marina Hassapopoulou","doi":"10.5117/NECSUS2014.2.HASS","DOIUrl":"https://doi.org/10.5117/NECSUS2014.2.HASS","url":null,"abstract":"The increasing use of software and database aesthetics in film and video production has created hybrid modes of spectatorship by altering the dynamic between media production and reception. Software-generated narratives (preprogrammed databases that create films through random selection and combination of discrete audio, visual, and/or textual tracks) remove the viewer from the actual algorithmic process, drawing his/her attention instead on interactions between hardware and software. Here, the element of unpredictability that is part of cinematic pleasure lies in the recombination of discrete elements (audio, visuals, subtitles, and so on) and the unexpected ways in which the software stitches those elements together. The subsequent reduction in the degree and compass of authorial control invites us to reconsider existing frameworks of spectatorship and narration within new contexts of mobility, performance, and databases. In this article I consider Soft Cinema films (Lev Manovich, Andreas Kratky, et al., 2003) as prototypical software-driven examples of this shift in viewing conditions and reception contexts. I argue that, despite its emerging and changing techniques and aesthetics, software-generated cinema retains one of the primitive socio-pedagogical functions of the cinema: training audiences to receive and buffer contemporarymedial sensations. Just as early cinema prepared audiences and worked as a buffer for shocks of technological and industrial modernity, software cinema trains the viewer in new modes of film spectatorship and new modes of narrative and affective subjectivity that correspond to the hypertextual ways in which we interact with digital technologies. These viewing modes create a new form of procedural spectatorship that has been evident since the first pioneering experiments in generative cinema and a form that is, nonetheless, not entirely detached from existing theoretical paradigms of cinematic spectatorship and the development of the cinematic medium. 21 VOL. 3, NO. 2, 2014","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130557580","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Introduction to the audiovisual essay: A child of two mothers 视听文章简介:两个母亲的孩子

Necsus. European Journal of Media Studies Pub Date : 2014-12-31 DOI: 10.5117/NECSUS2014.2.ALVA

A. Martin, Cristina A. López

引用次数: 10

The documentary temptation: fiction filmmakers and non-fiction forms 纪录片的诱惑:虚构电影制作人和非虚构形式

Necsus. European Journal of Media Studies Pub Date : 2014-12-31 DOI: 10.5117/NECSUS2014.2.MART

A. Martin

引用次数: 0

Female celebrity and ageing in the limelight and under the microscope 聚光灯下和显微镜下的女性名人和衰老

Necsus. European Journal of Media Studies Pub Date : 2014-12-31 DOI: 10.5117/NECSUS2014.2.WRIG

J. Wright

引用次数: 0

Photographed by the Earth: War and media in light of nuclear events 地球拍摄:核事件下的战争与媒体

Necsus. European Journal of Media Studies Pub Date : 2014-12-31 DOI: 10.5117/NECSUS2014.2.PRIN

Thomas Patrick Pringle

{"title":"Photographed by the Earth: War and media in light of nuclear events","authors":"Thomas Patrick Pringle","doi":"10.5117/NECSUS2014.2.PRIN","DOIUrl":"https://doi.org/10.5117/NECSUS2014.2.PRIN","url":null,"abstract":"This article charts a media historical relation between radiation and celluloid film, ranging from the downwind 1956 production of The Conqueror to early scientific imaging practices, war photography, war documentaries, military industrial film, and contemporary artists working on radiation aesthetics. Posing the collection as a diagnostic media ecology, this article argues that the valuable evidence provided by the environmental metadata stored in celluloid film is the product of ecological warfare and violence. By turning to the material sciences for a better understanding of how nuclear weapons affect media on large spatial and temporal scales we gain a parallax view to how photographic practices – defined as the aesthetic exchange of light and energy – occur autonomously within our ecology, although some of these forces aremobilised in deadly and imperceptible ways. By demonstrating that non-human agencies released by Cold War energy policies have contaminated military industrial and commercial film archives alike, this article asserts that nuclear testing and warfare have contributed to a global condition of test-subjectivity that can be evidenced by diagnostic media ecology.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124933780","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

Kilts, tanks, and aeroplanes: Scotland, cinema, and the First World War 苏格兰裙、坦克和飞机:苏格兰、电影和第一次世界大战

Necsus. European Journal of Media Studies Pub Date : 2014-12-31 DOI: 10.5117/NECSUS2014.2.ARCH

David Archibald, Maria A. Vélez-Serna

{"title":"Kilts, tanks, and aeroplanes: Scotland, cinema, and the First World War","authors":"David Archibald, Maria A. Vélez-Serna","doi":"10.5117/NECSUS2014.2.ARCH","DOIUrl":"https://doi.org/10.5117/NECSUS2014.2.ARCH","url":null,"abstract":"This article charts commercial cinema’s role in promoting the war effort in Scotland during the First World War, outlining three aspects of the relationship between cinema and the war as observed in Scottish non-fiction short films produced between 1914 and 1918. The existing practice of local topical filmmaking, made or commissioned by cinemamanagers, created a particular form of engagement between cinema andwar that was substantially different from the national newsreels or official films. The article offers an analysis of surviving short ‘topicals’ produced and exhibited in Scotland, which combine images of local military marches with kilted soldiers and enthusiastic onlookers and were designed to lure the assembled crowds back into the cinema to see themselves onscreen. Synthesising textual analysis with a historical account of the films’ production context, the article examines the films’ reliance on the romanticised militarism of the Highland soldier and the novelty appeal of mobilisation and armament, sidelining the growing industrial unrest and anti-war activities that led to the birth of the term ‘Red Clydeside’. The article then explores how, following the British state’s embracing of film propaganda post-1916, local cinema companies such as Green’s Film Service produced films in direct support of the war effort, for example Patriotic Porkers (1918, for theMinistry of Food). Through their production and exhibition practice exhibitors mediated the international conflict to present it to local audiences as an appealing spectacle, but also mobilised cinema’s position in Scottish communities to advance ideological and practical aspects of the war effort, including recruitment, refugee support, and fundraising.","PeriodicalId":174743,"journal":{"name":"Necsus. European Journal of Media Studies","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132690473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0