{"title":"9. “一圈又一圈，世界一直在旋转。当它停止时，它才刚刚开始。”","authors":"","doi":"10.1515/9789048537792-012","DOIUrl":null,"url":null,"abstract":"The final chapter considers the impact of the shift from analogue to digital media upon the preoccupations and aesthetics of millennial uncanny child films. Via an analysis of The Ring (Gore Verbinski, 2002), Chapter Nine contends that this paradigmatic technological shift has deep intersections with the ideological tangling of beginnings and endings characterized by the millennial turn. These intersections are embodied by the uncanny child in The Ring who eerily conflates decay and growth.","PeriodicalId":424393,"journal":{"name":"The Uncanny Child in Transnational Cinema","volume":"194 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"9. ‘Round and round, the world keeps spinning . When it stops, it’s just beginning’\",\"authors\":\"\",\"doi\":\"10.1515/9789048537792-012\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"The final chapter considers the impact of the shift from analogue to digital media upon the preoccupations and aesthetics of millennial uncanny child films. Via an analysis of The Ring (Gore Verbinski, 2002), Chapter Nine contends that this paradigmatic technological shift has deep intersections with the ideological tangling of beginnings and endings characterized by the millennial turn. These intersections are embodied by the uncanny child in The Ring who eerily conflates decay and growth.\",\"PeriodicalId\":424393,\"journal\":{\"name\":\"The Uncanny Child in Transnational Cinema\",\"volume\":\"194 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2018-12-31\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Uncanny Child in Transnational Cinema\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1515/9789048537792-012\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Uncanny Child in Transnational Cinema","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1515/9789048537792-012","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
9. ‘Round and round, the world keeps spinning . When it stops, it’s just beginning’
The final chapter considers the impact of the shift from analogue to digital media upon the preoccupations and aesthetics of millennial uncanny child films. Via an analysis of The Ring (Gore Verbinski, 2002), Chapter Nine contends that this paradigmatic technological shift has deep intersections with the ideological tangling of beginnings and endings characterized by the millennial turn. These intersections are embodied by the uncanny child in The Ring who eerily conflates decay and growth.
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