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  1. Interactivity, Fictionality, and Incompleteness.Nathan Wildman & Richard Woodward - forthcoming - In Grant Tavinor & Jon Robson (eds.), The Aesthetics of Videogames. Routledge.
  2. The Specter of the Electronic Screen: Bruno Varela's Reception of Stanley Cavell.Byron Davies - 2021 - In David LaRocca (ed.), Movies with Stanley Cavell in Mind. London, UK: pp. 72-90.
    An analysis of some work by the Oaxaca-based Mexican experimental filmmaker and video artist Bruno Varela via the latter’s reading of the late U.S. philosopher Stanley Cavell, especially Cavell’s 1982 essay “The Fact of Television.” This essay focuses on the aesthetic possibilities of the very constitution of the electronic image, based in Cavell’s understanding of television’s dependence on notions of “switching,” as opposed to “succession,” as well as how those notions play a role in Varela’s understanding of what it is (...)
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  3. Accidents Made Permanent: Theater and Automatism in Stanley Cavell, Michael Fried, and Matías Piñeiro.Byron Davies - 2020 - Modern Language Notes 135 (5):1283-1314.
    This essay provides an interpretation of the potential and limits of Michael Fried's difficult claims in his essay "Art and Objecthood" (1967) that cinema by its nature escapes the problems of modernism and also escapes the problems of theater. By focusing on Stanley Cavell's account of how cinema as an automatic medium escapes problems associated with variability across performances, I try to render a version of Fried's claim about cinema and theater that can ground a figurative version of his claim (...)
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  4. The Post-Human Media Semblance: Predictive Catastrophism.Ekin Erkan - 2020 - Rhizomes: Cultural Studies in Emerging Knowledge 36.
    Since the advent of media archeology, a deep-seated bifurcation has found one end of the field arguing for the interventionist and appropriative weaponization of media whereas the other side has championed a “total war” with technology itself, insisting that new media’s military-industrial roots inherently color its drivability. Here, I implore a moment within the cultural history of net.art and post-internet art to examine how contemporaneous queries about control after militarism and decentralization, as prognosticated by Paul Virilio and Gilles Deleuze, are (...)
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  5. Machine.Thomas Patrick Pringle, Bernard Stiegler & Gertrud Koch - 2019 - Minnesota University Press and Meson Press.
    In today’s society of humans and machines, automation, animation, and ecosystems are terms of concern. Categories of life and technology have become mixed in governmental policies and drive economic exploitation and the pathologies of everyday life. This book both curiously and critically advances the term that underlies these new developments: machine.
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  6. 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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  7. Os vlogs e a identificação paradoxal dos criadores do discurso.Guilherme Adorno - 2016 - Línguas E Instrumentos Linguísticos 37:257-292.
    Resumo: Com o objetivo de compreender os processos de identificação do sujeito em alguns funcionamentos discursivos dos vlogs, no YouTube, este trabalho analisa o modo como o contraponto entre a eficácia imaginária e o jogo significante na história produz o reconhecimento de lugares e poderes do dizer no desconhecimento constitutivo de sua relação com o Interdiscurso, nas condições de produção específicas do digital. Os recortes delimitados são: as designações equívocas de vlogueiro, youtuber e criador; a produção da autoria na imbricação (...)
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  8. The Camera Movement in Relation to Narration in Animated Films: A Practice-Oriented Study.Hadis Malekie & Mohammad Reza Hosnaee - 2016 - Journal of Dramatic Arts and Music 6 (11):81-95.
    As a core element of film language, camera movement plays a crucial role in narrative explanation, character shaping, and theme development in cinema. Although camera movements in animation movies are often implemented to add excitement to shots, their best use is when new narrative is revealed. In this paper we have studied the aspects of narration that can be presented by camera movement in animation. We put our question on whether camera movement can have a role in narration or not; (...)
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  9. 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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  10. 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. 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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  12. 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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  13. 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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  14. 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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  15. Digital Cinema : A False Revolution.John Belton - 2010 - In Marc Furstenau (ed.), The Film Theory Reader: Debates and Arguments. Routledge.
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  16. 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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  17. Aesthetics And Popular Art: An Interview With Aaron Meskin.Aaron Meskin - 2010 - Postgraduate Journal of Aesthetics 7 (2):1-9.
    As is usually the case with what I work on, I read some stuff I liked. I 1 read an article on comics by Greg Hayman and Henry Pratt and some work on 2 videogames,GrantTavinor’sreallyexcellentworkonthattopic. Ifoundthematerial interesting and I thought I had something to say about it. That’s what usually motivates me and that’s what did in these cases. With comics, my interest in the medium played a big role. I was a child collector of Marvel. I got turned on (...)
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  18. 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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  19. 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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  20. 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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  21. 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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  22. Living Cinema: New Directions in Contemporary Film-Making.Louis Marcorelles - 1973 - New York: Praeger.
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