The Velvet Light Trap最新文献_第9页

The Children’s Horror Film: Characterizing an “Impossible” Subgenre 儿童恐怖电影:塑造一个“不可能”的亚类型

The Velvet Light Trap Pub Date : 2016-08-18 DOI: 10.7560/VLT7803

C. Lester

引用次数: 6

Televisa Born and Raised: Lucerito’s Stardom in 1980s Mexican Media 出生和成长:Lucerito在20世纪80年代墨西哥媒体的明星地位

The Velvet Light Trap Pub Date : 2016-08-18 DOI: 10.7560/VLT7804

Olivia Cosentino

引用次数: 7

Selling the Silver Bullet: The Lone Ranger and Transmedia Brand Licensing by Avi Santo (review) 销售银弹:《独行侠》与跨媒体品牌授权

The Velvet Light Trap Pub Date : 2016-08-18 DOI: 10.5860/choice.192277

Nicholas Benson

引用次数: 1

Building Blocks of the Imagination: Children, Creativity, and the Limits of Disney Infinity 想象力的积木:儿童、创造力和迪士尼无限的极限

The Velvet Light Trap Pub Date : 2016-08-18 DOI: 10.7560/VLT7805

Meredith A. Bak

{"title":"Building Blocks of the Imagination: Children, Creativity, and the Limits of Disney Infinity","authors":"Meredith A. Bak","doi":"10.7560/VLT7805","DOIUrl":"https://doi.org/10.7560/VLT7805","url":null,"abstract":"This article examines Disney Infinity, a toys-to-life game launched in 2013. Billed as “a celebration of infinite creativity” ahead of its release, Infinity is the only toys-to-life platform that incorporates open-ended world building into play. It is designed to emulate kids’ physical play by allowing them to mix and match characters and elements from disparate story worlds in a virtual environment. The essay considers Disney’s use of children’s creativity as an economic strategy, arguing that the company’s deployment of creativity is exemplary of the term’s rhetorical appropriation by industry stakeholders across contemporary children’s media culture. Exploring the game’s promotional materials, in-game features, attributes of gameplay, and aesthetics, the article situates Infinity within the broader toys-to-life market, demonstrating Disney’s interest in creativity, particularly in the wake of heightened interest in STEM and STEAM initiatives. It suggests that Disney’s creativity is complex and, at times, contradictory and that it relies upon a romanticized notion of children as “unruly” players. Making Disney characters and iconography available for user-generated appropriation, Infinity attempts to reframe creativity within the parameters of its own intellectual property.","PeriodicalId":335072,"journal":{"name":"The Velvet Light Trap","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130457057","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: 5

Girl Talk and Girl Tech: Computer Talking Dolls and the Sounds of Girls’ Play 女孩的谈话和女孩的技术:电脑说话的娃娃和女孩的声音玩

The Velvet Light Trap Pub Date : 2016-08-18 DOI: 10.7560/VLT7802

Reem Hilu

引用次数: 3

“Art Porn Provocauteurs”: Queer Feminist Performances of Embodiment in the Work of Catherine Breillat and Lena Dunham “色情艺术挑衅者”:Catherine Breillat和Lena Dunham作品中体现的酷儿女权主义表演

The Velvet Light Trap Pub Date : 2016-02-05 DOI: 10.7560/VLT7703

Maria San Filippo

{"title":"“Art Porn Provocauteurs”: Queer Feminist Performances of Embodiment in the Work of Catherine Breillat and Lena Dunham","authors":"Maria San Filippo","doi":"10.7560/VLT7703","DOIUrl":"https://doi.org/10.7560/VLT7703","url":null,"abstract":"French writer-filmmaker Catherine Breillat and American writer–filmmaker–television series creator Lena Dunham share a devotion to questioning sexual norms and norms of representation, which converge at the point of embodied female performance of sex/uality. Exploring and affirming that which is typically deemed abject or shameful, especially for women, Breillat and Dunham reveal and revise heteropatriarchal uses of female nudity and sexuality, both in and out of pornography, to conceal and deny women’s humanity. In so doing, these “provocauteurs” stretch the definitional and representational boundaries of what we consider “feminist,” “queer,” and “porn.” Through examination of Breillat’s films Une vraie jeune fille / A Real Young Girl (1976, released 2000), Romance (2000), À ma soeur / Fat Girl (2001), Sex Is Comedy (2002), and Anatomie de l’enfer / Anatomy of Hell (2004) and Dunham’s early short films, breakout feature Tiny Furniture (2010), and the first four seasons of her HBO series Girls (2012–), I aim to reveal how their mutual reenvisioning of sex/uality on-screen is generative of a politicized, hybridized representational and performative mode I term “queer feminist art porn.”","PeriodicalId":335072,"journal":{"name":"The Velvet Light Trap","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121723036","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: 2

Blind Spots And Mind Games: Performance, Motivation, and Emotion in the Films of Stanley Kubrick 盲点和心理游戏:斯坦利·库布里克电影中的表现、动机和情感

The Velvet Light Trap Pub Date : 2016-02-05 DOI: 10.7560/VLT7702

Aaron Taylor

引用次数: 0

Do The Locomotion: Obstinate Avatars, Dehiscent Performances, and the Rise of the Comedic Video Game 做运动:顽固的化身，分裂的表演，和喜剧电子游戏的兴起

The Velvet Light Trap Pub Date : 2016-02-05 DOI: 10.7560/VLT7706

I. Jones

{"title":"Do The Locomotion: Obstinate Avatars, Dehiscent Performances, and the Rise of the Comedic Video Game","authors":"I. Jones","doi":"10.7560/VLT7706","DOIUrl":"https://doi.org/10.7560/VLT7706","url":null,"abstract":"Physical comedy has long been a difficult subject for video games, but recent years have seen the emergence of a microgenre of independently developed games, dubbed “fumblecore” by critics in the popular press, that have taken on this challenge. Approaching the question of how these games can succeed at crafting mishap-based physical comedy while seemingly lacking the buffer of performance that characterizes the reception of traditional slapstick comedy, this essay examines these games’ subversion of the norms of the player-avatar relationship. Rejecting any attempt at a “transparent” or unthought relation between play intention and machine response, fumblecore games instead foster a mode of dehiscent performance, foregrounding the discrepancy between human and computer actants and transforming the processes that produce an on-screen character into a form of agonistic shtick. Emerging from this contentious collaboration is a comedic body that, although perhaps initially appearing to conform to a Bergsonian model of humor, ultimately upsets physical comedy’s usual mind/body dynamic. Finally, considering the social functions of humor and the ways in which accounts of embodiment can too often slip into normative pronouncements, this essay concludes by investigating whether the fumblecore genre holds any potential to foster empathy around issues of disability.","PeriodicalId":335072,"journal":{"name":"The Velvet Light Trap","volume":"232 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116494119","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

Chronic Tomboys: Feminism, Survival, and Paranoia in Jodie Foster’s Body of Work 慢性假小子:朱迪·福斯特作品中的女权主义、生存与偏执

The Velvet Light Trap Pub Date : 2016-02-05 DOI: 10.7560/VLT7704

Lynne Stahl

{"title":"Chronic Tomboys: Feminism, Survival, and Paranoia in Jodie Foster’s Body of Work","authors":"Lynne Stahl","doi":"10.7560/VLT7704","DOIUrl":"https://doi.org/10.7560/VLT7704","url":null,"abstract":"From Freaky Friday (1976) to Flightplan (2005), Jodie Foster has made a career of defying gender norms, a defiance predicated largely upon her characteristically tom-boyish embodiment and a mode of being that combines activeness, visual agency, and a distinctively resistant demeanor that spans her body of work to the extent that one can hardly watch any one of her films without involuntary recourse to her earlier and later movies. This essay takes up David Fincher’s Panic Room (2002), which unites tomboy figures of two generations in Foster and Kristen Stewart and works, in light of the former’s corpus and its feminist bent, to refuse the trope that sees tomboyism capitulate to heteronormative strictures in adolescence. Instead, Panic Room reproduces that embodied resistance in an adult through interactions with her daughter. The essay then proceeds further into the films of an iconic tomboy actress to posit a mode of queer feminist reproductivity enacted through Foster’s star image and a recuperation of feminist “paranoia” through the consistent critique of heteronormativity that her aggregate body of work performs. Moreover, it addresses debates within queer theory about time, refuting antisocial currents—the push against “for-the-child” sentiments predominant in contemporary political rhetoric—and proposing an alternative, recursive temporality, and, within the field of feminist film studies, demonstrating a subversive potential within commercial narrative film across the span of one Hollywood star’s career.","PeriodicalId":335072,"journal":{"name":"The Velvet Light Trap","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126334925","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: 2

Snakes On The Dance Floor: Bollywood, Gesture, and Gender 舞池中的蛇:宝莱坞、手势和性别

The Velvet Light Trap Pub Date : 2016-02-05 DOI: 10.7560/VLT7705

Kareem Khubchandani

引用次数: 11