scholarly journals Dr Dario Llinares in Conversation with Dr Sarah Atkinson

2015 ◽  
Vol 8 (5) ◽  
Author(s):  
Dario Llinares ◽  
Sarah Atkinson
Keyword(s):  
Digital Technology ◽  
Film Theory ◽  
Film Criticism ◽  
Film Production ◽  
The Core ◽  
Expanded Cinema ◽  
Mobile Cinema ◽  
Recent Monograph ◽  
Historical Antecedents ◽  
Networked Society

Dr Dario Llinares interviews Dr Sarah Atkinson about the core themes addressed in her recent monograph Beyond the Screen: Emerging Cinema and Engaging Audiences (Bloomsbury, 2014). The conversation explores the context for new conceptualisations of cinema, which encompass and reflect the myriad ways film can be experienced beyond the auditorium in a digitally networked society. They also explore the historical antecedents for embodied cinema, discuss examples of expanded, extended and mobile film spectatorship, and postulate as to the effect of these transformations for film production, criticism and scholarship.     KEYWORDS Expanded Cinema; Film Criticism; Film Theory; Digital Technology; Mobile Cinema; Spectatorship

Cinematic media in digital culture

2019 ◽  
Vol 11 (1) ◽  
pp. 8-14
Author(s):  
Gennady P. Bakulev
Keyword(s):  
Digital Technology ◽  
Film Industry ◽  
Film Theory ◽  
Film History ◽  
Digital Culture ◽  
Technological Changes ◽  
Technical Developments ◽  
Experimental Media ◽  
Expanded Cinema ◽  
Principal Task

Periods of important technological changes greatly influence film theory, as new films usually raise the key question: what is actually a film? This problem has been discussed by film theorists over many decades. Todays film industry, in which digital technology is being successfully integrated in the traditional narrative media and combined with the established visual paradigms, clearly demonstrates how classical artistic approaches can go along with new technical developments. Contemporary documentary cinema is a vivid example of the ways in which digital technology can expand and deepen the area of cinematic media. Basing themselves mostly on traditional formats, media makers create products which could be rightfully considered as new genres. By restructuring cinemas borders film scholars widen the scope of their studies. One of the ideas attracting their attention is that of expanded cinema. This concept, suggested by Gene Youngblood, is usually related to experimental media, in which the perceptive context is the key aspect of artistic creativity. The principal task of film researchers has been to follow the continually changing horizons of cinema in the context of film history. New schemes of development often create new problems which can be solved only by means of new critical tools.

Introduction

2021 ◽  
pp. 1-18
Author(s):  
Jordan Schonig
Keyword(s):  
Film Studies ◽  
Formal Analysis ◽  
Film Theory ◽  
Gestalt Psychology ◽  
Film Criticism ◽  
Philosophical Intuition ◽  
History Of ◽  
Generic Structures ◽  
Temporal Flow ◽  
Film Form

The Introduction examines why “movement” is often invoked as a term in film criticism and film theory but is rarely analyzed as an aspect of film form. The reason for this is twofold. First, because film theory has largely examined movement only as a defining property of the cinematic medium, movement is rarely singled out in film criticism. Second, because film theory has inherited the philosophical intuition that form is primarily spatial rather than temporal, formal analysis in film studies tends to break up the temporal flow of film into static units, such as in shot breakdowns and frame analyses. In film studies, then, “form” and “movement” are conceptually incompatible. As a means of thinking motion and form together, the Introduction proposes the concept of “motion forms,” generic structures, patterns, or shapes of motion. The Introduction then explores the philosophical roots of the motion form in phenomenology and Gestalt psychology, and explains how such a way of thinking about cinematic motion differs from other phenomenological approaches in film studies. Finally, the introduction outlines the six chapters of the book, each of which investigates a particular motion form that emerges throughout the history of cinema.

scholarly journals Narrative Competence and the Enhancement of Literacy

Seminar.net ◽  
2005 ◽  
Vol 1 (2) ◽  
Author(s):  
Stephen Dobson
Keyword(s):  
Educational Policy ◽  
Digital Technology ◽  
Research Programme ◽  
Cultural Relations ◽  
Classroom Context ◽  
Narrative Competence ◽  
Open Learning ◽  
Policy Makers ◽  
The Core ◽  
Central Focus

This essay argues for narrative competence as an underlying skill neglected in educational policy makers’ calls for enhanced literacy through improved reading, writing, numeracy and working with digital technology. This argument is presented in three parts. First, a genealogy of the narrative is presented by looking at understandings of narratives with respect to changes in technology and socio-cultural relations. Three technological forms of the narrative are examined: the oral, written and image based narrative. Second, revisiting Bernstein, narrative competency is connected to pedagogic practice. The focus is upon code recognition and the rhythm of narrative in a classroom context. Third, a proposal is made to develop narrative competence as a research programme capable of exploring literacy in an age of open learning. The core assertion of this essay is that when narrative is understood in a multi-directional, multi-voiced and multi-punctual sense, opportunities are created for a pedagogic practice that is in tune with the demands placed upon youth and their relationship to changing technologies. This makes the exploration of connections between narrative competence, pedagogic practice and technology the central focus of this essay.

Introduction

2020 ◽  
pp. 1-6
Author(s):  
Rachel K. Gibson
Keyword(s):  
Case Studies ◽  
Digital Technology ◽  
Current Practice ◽  
Phase Model ◽  
General Introduction ◽  
The Core

This chapter provides a general introduction and overview to the book. It sets out the main contention that digital technology has moved from being an afterthought for campaigns to being at the core of current practice, and how this has occurred over a twenty-year period. It introduces the four-phase model of campaign change that anchors the book, and structures the analysis in the subsequent chapters. It explains the concepts of apoliticos and hypernormality that inform the key conclusions of the study. Finally, it presents a summary of the chapters and explains how they develop and how they apply the four-phase model to the four national case studies.

scholarly journals Slow Train Coming? The Transition to Digital Distribution and Exhibition in Cinema

2004 ◽  
Vol 110 (1) ◽  
pp. 105-119 ◽  
Author(s):  
Scott McQuire
Keyword(s):  
United States ◽  
Production Process ◽  
Digital Technology ◽  
The United States ◽  
Film Production ◽  
Special Effects ◽  
Digital Cinema ◽  
End To End ◽  
Key Industry

Throughout the 1990s, digital technology entered film production and rapidly altered both the production process and the audience's experience, as complex soundscapes and special effects became the hallmark of cinematic blockbusters. By 1999, the prospect of an end-to-end digital cinema, or cinema without celluloid, seemed to be in sight. Digital distribution and exhibition were extolled as particularly attractive prospects, and a number of test sites were established in the United States. However, the last four years have demonstrated that significant issues need to be resolved before there will be broader implementation of digital cinema. Working from a series of interviews with key industry practitioners in Australia and the United States, this article examines the struggles currently affecting the rollout of digital cinema, and assesses the likely impact on Australian exhibition practices.

scholarly journals Distinguishing the Female Protagonist in Douglas Sirk’s All That Heaven Allows, Rainer Werner Fassbinder’s Ali: Fear Eats the Soul and Todd Haynes’ Far From Heaven

2020 ◽  
Author(s):  
Kyle Heger
Keyword(s):  
Original Film ◽  
Film Theory ◽  
Class Differences ◽  
Feminist Film Theory ◽  
The Core ◽  
Societal Norms ◽  
The Social ◽  
Todd Haynes ◽  
Feminist Film ◽  
Design Score

When a movie is remade the primary story changes in order to reflect the social norms of a new audience. Ali: Fear Eats the Soul (1974) and Far From Heaven (2002) are replicas of the original film All That Heaven Allows from 1955. Each film tackles different issues with the female as the protagonist. Social class, race and homosexuality are at the core of these three films. In this paper, I will discuss all three films and interject how the heroine discovers herself and why she needs to evolve. As each heroine finds herself, she strives to break the monotony that society has constructed for her and by breaking free she discovers what she has been looking for on her own terms. Societal structures barricade our protagonist by creating obstacles for her to move through, like class differences, racial bigotry and love. The female’s journey will be looked at through a critical analysis of each film including its production design, score and lighting. Feminist film theory will help us understand how these generations look at female characters on film. In the next decade, this film may be told through a completely different filter based on the societal norms of what that generation is facing.

Looking Through the Rearview Mirror

2021 ◽  
pp. 244-280
Author(s):  
James S. Williams
Keyword(s):  
Film Criticism ◽  
Film Production ◽  
French Cinema ◽  
French Film ◽  
Queer Representation ◽  
Rearview Mirror

Probing the continuities and discontinuities of queer representation and expression in the vast, multiform corpus of French cinema up to 1945, this chapter celebrates moments of queer visual and auditory intimacy and pleasure in both celebrated and little-known or neglected films. It aims to prove that early French cinema, despite its all-too-evident heterosexist matrices and repressive tendencies (notably the negative and often highly crude, fetishizing stereotypes of the “homosexual,” “lesbian,” and “cross-dresser”), also discloses unpredictable and non-normative aesthetic spaces or “interzones”—of filiation, desire, and sensation—that resist easy categorization (social, cultural political), elude the gender fixities of the period, and are rich in radical ambiguity and queer suggestion, even subversion. A new, materialist, queer aesthetics and historiography is proposed that ties early French film production and spectatorship to abiding aspects of the French cinematic tradition such as cinephilia and film criticism.

Navigating an Immersive Narratology

2021 ◽  
pp. 125-141
Author(s):  
Bradley E. Wiggins
Keyword(s):  
News Media ◽  
Critical Evaluation ◽  
Fake News ◽  
Direct Response ◽  
White House ◽  
Objective Truth ◽  
The Core ◽  
Definition Of ◽  
Historical Antecedents

In direct response to the rise in fake news as a socio-cultural and political phenomenon, this article presents an analysis of the factors that may help to explain the reception of fake news. In addition, recent pronouncements made by the Trump White House seem to challenge the nature of an objective truth. An immersive narratology emphasizes that different universes of discourse can intermingle and overlap, with fact and fiction becoming difficult to distinguish in our increasingly mediated lives. A tenable definition of fake news is offered prior to exploring historical antecedents of fake news. Persuasion, construction, immersion, distribution, and polarization represent the core factors that demystify the reception of fake news regardless as to whether an individual believes a story. A concluding discussion offers a critical evaluation of the potential of fake news to augment the news media landscape in the coming years.

Objet A(ffect) and Che(www) Vuoi

Screen Bodies ◽  
2017 ◽  
Vol 2 (2) ◽  
pp. 25-44
Author(s):  
Dewey Musante
Keyword(s):  
Film Theory ◽  
Sexual Politics ◽  
Affect Theory ◽  
Sexual Relationships ◽  
Horror Films ◽  
Film Criticism ◽  
Philosophical Thought ◽  
Close Analysis

Leigh Janiak’s Honeymoon (2014) and Justin Benson and Aaron Moorhead’s Spring (2015) initially seem like two horror films birthed in the spirit of classical psychoanalytic film criticism. They deal with a monstrous female, a fearful, castrated male, and the “otherness” of sexual relationships. Through a close analysis of each film, however, I suggest in the following that both films “think” through problems of the gendered other, sexual politics, and cinematic affect outside the bounds of contemporary psychoanalytic or affect theory. By suggesting and analyzing two neologisms that blend the insights of psychoanalytic and affective film theory—objet a(ffect) and che(www) vuoi—I argue that both films not only complicate typical readings of horror films “about” gender and sex, but that each film performs its own type of philosophical thought about gender and “otherness” through its very form and content.

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