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  1. added 2019-01-21
    Through a Telescreen Darkly.Lavinia Marin - 2018 - In Ezio Di Nucci & Stefan Storrie (eds.), 1984 and philosophy, is resistance futile? Open Court. pp. 187-198.
    “It was a peculiarly beautiful book. its smooth creamy paper, a little yellowed by age, was of a kind that had not been manufactured for at least forty years past. . . . Even with nothing written in it, it was a compromising possession. The thing that he was about to do was to open a diary. This was not illegal (nothing was illegal, since there were no longer any laws), but if detected it was reasonably certain that it would (...)
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  2. added 2018-03-23
    Interactivity, Fictionality, and Incompleteness.Nathan Wildman & Richard Woodward - forthcoming - In Grant Tavinor & Jon Robson (eds.), The Aesthetics of Videogames. Routledge.
  3. added 2015-11-22
    Towards a Science of Emerging Media.Barry Smith - 2015 - In J. E. Katz & J. Floyd (eds.), Philosophy of Emerging Media: Understanding, Appreciation and Application. Oxford University Press. pp. 29-48.
    If media studies are to become established as a genuine science, then it needs to be determined what the subject matter of this science is to be. I propose a specification of this subject matter as consisting in: 1. the new sorts of digital entities that have been added to social reality through the invention of the digital computer, and 2. the new sorts of interactions involving human beings which such entities make possible. I support this proposal by examining examples (...)
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  4. added 2014-03-31
    Digital Cinema : A False Revolution.John Belton - 2010 - In Marc Furstenau (ed.), The Film Theory Reader: Debates and Arguments. Routledge.
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  5. added 2014-03-30
    Tales of Epiphany and Entropy: Paranarrative Worlds on YouTube.Thomas Elsaesser - 2009 - In Warren Buckland (ed.), Film Theory and Contemporary Hollywood Movies. Routledge.
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  6. added 2014-03-29
    Recent Arguments. Digital Dinema and the History of a Moving Image.Lev Manovich - 2010 - In Marc Furstenau (ed.), The Film Theory Reader: Debates and Arguments. Routledge.
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  7. added 2014-03-28
    La Caméra-Stylo: Notes on Video Criticism and Cinephilia.Christian Keathley - 2012 - In Alex Clayton & Andrew Klevan (eds.), The Language and Style of Film Criticism. Routledge.
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  8. added 2014-03-17
    Boys, Boyz, Bois: An Ethics of Black Masculinity in Film and Popular Media.Keith M. Harris - 2006 - Routledge.
    Boys, Boyz, Bois concerns questions of ethics, gender and race in popular American images, national discourse and cultural production by and about black men. The book proposes an ethics of masculinity, as ethnics refers to a system of morality and valuation and as ethics refers to a care of the self and ethical subject formation. The texts of analysis include recent films by black/African American filmmakers, gansta rap and hip-hop and black star persona: texts ranging from Blaxploitation and New Black (...)
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  9. added 2013-06-16
    From Light to Byte: Toward an Ethics of Digital Cinema.Markos Hadjioannou - 2012 - University of Minnesota Press.
    Introduction. Going digital: cinema's new age -- The reality of the index, or where does the truth lie? -- Physical presences: reality, materiality, corporeality -- Spatial coordinates: in between celluloid strips and codified pixels -- Rediscovering cinematic time -- Tracing an ethics of the movie image -- Conclusion. change: a point of constant departure.
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  10. added 2012-07-05
    The Fictional Character of Pornography.Shen-yi Liao & Sara Protasi - 2013 - In Hans Maes (ed.), Pornographic Art and the Aesthetics of Pornography. Palgrave-Macmillan. pp. 100-118.
    We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...)
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  11. added 2012-01-09
    The Neuro-Image: A Deleuzian Film-Philosophy of Digital Screen Culture.Patricia Pisters - 2012 - Stanford University Press.
    Introduction : schizoanalysis, digital screens and new brain circuits -- Schizoid minds, delirium cinema and powers of machines of the invisible -- Illusionary perception and powers of the false -- Surveillance screens and powers of affect -- Signs of time : meta/physics of the brain-screen -- Degrees of belief : epistemology of probabilities -- Powers of creation : aesthetics of material-force -- The open archive : cinema as world-memory -- Divine in(ter)vention : micropolitics and resistance -- Logistics of perception 2.0 (...)
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  12. added 2012-01-09
    Into the "Imaginary" and "Real" Place : Stan Douglas's Site-Specific Film and Video Projection.Ji-Hoon Kim - 2011 - In John David Rhodes & Elena Gorfinkel (eds.), Taking Place: Location and the Moving Image. University of Minnesota Press.
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  13. added 2012-01-09
    Home, Exile, Homeland: Film, Media, and the Politics of Place.Hamid Naficy (ed.) - 1999 - Routledge.
    Global changes in capital, power, technology and the media have caused massive shifts in how we define home and community, leaving redrawn territories and globalized contexts. This interdisciplinary study of the media brings together essays by accomplished critics to discuss the way film, television, music, and computer and electronic media are shaping identities and cultures in an increasingly globalized world. Ranging from intensely personal to highly theoretical, the contributors explore our complex negotiation of "home" and homeland" in a postmodern world. (...)
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  14. added 2012-01-09
    Living Cinema; New Directions in Contemporary Film-Making.Louis Marcorelles - 1973 - New York: Praeger.
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  15. added 2009-12-03
    Helpless Spectators: Suspense in Videogames and Film.Aaron Smuts & Jonathan Frome - 2004 - Text Technology 1 (1):13-34.
    The most surprising conclusion of our analysis is that videogames can be most effective in generating suspense not by highlighting their unique ability to be interactive, but, to the contrary, limiting interactivity at key points, thereby turning players into helpless spectators like those that watch films. Discovering this technique in video games allows us to turn our attention back to film, where we are able to highlight a previously ignored feature of viewer film interaction, namely, helplessness.
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