Advertising and the Apparatus : Cinema, Television, and Out-of-Home Screens

2021 ◽  
Author(s):  
Yvonne Zimmermann
Keyword(s):  
Conceptual Framework ◽  
Media Studies ◽  
Moving Image ◽  
Cinema Studies ◽  
Screen Media ◽  
Network Era

In this chapter, the notion of the dispositif serves as a conceptual framework to both theorize and analyse the programming of moving image advertising on three types of screens: cinema, network-era television, and digital out-of-home displays. The chapter shows how screen ads stitch together different forms of intermittent movements – of bodies, images, and objects – and thus help create flows. In bringing the programme in conversation with the dispositif, the chapter also draws attention to the programme, which in cinema studies, if not to the same extent also in media studies, is an extremely under-researched category despite its importance for production as well as for reception. Any study interested in the pragmatics of screen advertising as well as screen media cannot do without the programme.

Media and the Moving Image

2013 ◽  
pp. 177-190
Author(s):  
Paul Chilsen
Keyword(s):  
Media Literacy ◽  
Teaching And Learning ◽  
Authentic Learning ◽  
The Internet ◽  
Moving Image ◽  
Creation Process ◽  
Screen Media ◽  
Program Manager ◽  
The Future ◽  
The Creation

We are immersed in a culture of spoken media, written media, and – like it or not – screen media. Just as writing and speaking skills are keys to functioning in society, we must consider that the future increasingly demands proficiency in “mediating” as well. Doing anything less leaves this powerful medium in the hands of a relative few. By offering instruction in what screen media is, how it is created, how it relates to other literacies, how the internet is changing it, and how this all informs everyday teaching and learning, the Rosebud Institute seeks to make screen media literacy more broadly understood and accessible. This chapter follows a program developed by the Rosebud Institute and looks at how – using simple, accessible technology – people can become more screen media literate by creating digital films and ePortfolios themselves. Developed along with Rosebud’s program manager, Christine Wells, the creation process enables deeper, more authentic learning, allowing us all to communicate more effectively, to self assess more reflectively, and to thrive in a screen-based world.

Toward an Ontology of the Moving Image

2021 ◽  
pp. 3-20
Author(s):  
Noël Carroll
Keyword(s):  
Media Studies ◽  
Necessary Conditions ◽  
Moving Image ◽  
Broadcast Television ◽  
Computer Generated Imagery

This chapter proposes a series of necessary conditions for membership in the category of the moving image, a group that includes not only film, but broadcast television, video, various kinds of computer-generated imagery, and technologies yet to be invented. The chapter argues that “the moving image” is the category that media studies – including the philosophy of media – needs in order to organize and carry out the kinds of research it is pursuing.

scholarly journals African women of the screen at the digital turn

2015 ◽  
pp. 145-159
Author(s):  
Beti Ellerson
Keyword(s):  
New Technologies ◽  
African Women ◽  
The Internet ◽  
Film Festival ◽  
Video Monitor ◽  
Imagined Community ◽  
Moving Image ◽  
Turn On ◽  
Screen Media ◽  
The Impact

When I conceptualised the Sisters of the Screen project as a book and film, I envisioned an “imagined community” of kindred spirits, a “sisterhood” where the screen was their ultimate point of convergence. The screen is where their images are read; whether it’s a movie screen, television set, video monitor, computer screen, tablet or mobile phone, for a director, producer, film festival organiser, actor, critic or spectator the screen is the ultimate site where the moving image is viewed, interpreted and understood. With the phenomenal development of screen culture as a result of the digital turn, I return to the “screen” as a conceptual framework that integrates screen media, and their associated devices and technologies; hence, the concept “African women of the screen” as the organising principle. This report examines the impact of the digital turn on African women of the screen, how their cinematic gaze has evolved, developed and transformed with the evolution of new technologies such as the Internet and, in particular, the emergence of social media.

Mediating and Disrupting the Flow

2020 ◽  
Vol 14 (2) ◽  
pp. 141-158
Author(s):  
EVELYN KREUTZER
Keyword(s):  
Media Studies ◽  
Classical Music ◽  
The Other ◽  
Student Writing ◽  
Moving Image ◽  
History Of ◽  
Listening Experience ◽  
The One ◽  
Nam June Paik ◽  
The Relationship

This essay explores the relationship between ‘highbrow’ classical music traditions and ‘lowbrow’ associations with television culture in the collaborative oeuvre of Charlotte Moorman and Nam June Paik. Contextualizing them within the history of classical music broadcasting conventions on TV on the one hand, and the countercultural avantgarde on the other, I argue that Moorman and Paik’s acts of disrupting and breaking with musical, performative, and/or televisual notions of flow prevent the immersive listening experience that had marked classical music and TV discourses, and in so doing empower the listener in an anti-authoritarian, participatory appeal. This article is the winner of the 2019 Claudia Gorbman Graduate Student Writing Award, selected by the Sound and Music Special Interest Group of the Society for Cinema and Media Studies in conjunction with Music, Sound, and the Moving Image.

Large-scale Projection and the (New) New Monumentality

2019 ◽  
Author(s):  
Dave Colangelo
Keyword(s):  
Public Space ◽  
Case Studies ◽  
Large Scale ◽  
The Other ◽  
Historical Narratives ◽  
Moving Image ◽  
Cinema Studies ◽  
Urban Behaviour ◽  
Space Case

The use of the moving image in public space extends the techniques of cinema — namely superimposition, montage, and apparatus/dispositif — threatening, on one end of the spectrum, to dehistoricise and distract, and promising to provide new narrative and associative possibilities on the other. These techniques also serve as helpful tools for analysis and practice drawn from cinema studies that can be applied to examples of the moving image in public space. Case studies and creative works are presented in order to examine and illustrate the ways that public projections extend the effect of superimposition through the rehistoricisation of space, expand the diegetic boundaries of the moving image through spatial montage, and enact new possibilities for the cinematic apparatus and dispositif through scale and interaction in order to reframe and democratise historical narratives and scripts of urban behaviour.

Afrofuture ecosystems

2020 ◽  
Vol 23 (3) ◽  
pp. 331-340
Author(s):  
Marie-Paule Macdonald ◽  
Sheila Petty
Keyword(s):  
Climate Change ◽  
Daily Life ◽  
Global South ◽  
Media Representations ◽  
Urban Migration ◽  
Sustainable Communities ◽  
Cinema Studies ◽  
Urban Agglomerations ◽  
Screen Media ◽  
Survival And Growth

Recently, there has been a surge of African screen media representations of environmental awareness and solutions for sustainable communities as the Global South experiences increasing urban migration and climate change. Much of the focus in this work is on the precarity of daily life for those on the margins of large urban agglomerations. This article brings together theories and practices from the disciplines of urbanism, architecture and documentary cinema studies to examine some examples of how African artists are bringing attention to issues of urban precarity, climate change, survival and growth on the continent.

scholarly journals New Materialist Spectatorship: The Moving-Image-Body, the Mockumentary and a New Image of Thought

2015 ◽  
Vol 8 (5) ◽  
Author(s):  
Miriam Von Schantz
Keyword(s):  
Genre Theory ◽  
New Materialism ◽  
Potential Production ◽  
Moving Image ◽  
Cinema Studies ◽  
The Core ◽  
Materialist Theory

In this article I propose to rethink spectatorship as analytic category within cinema studies. Through an engagement with new materialist theory I shift the conversation from the locked positions of spectator and text towards an acknowledgement of the spectatorial event as a becoming increased or decreased in capacity to affect and be affected. By doing so I argue that what is effectuated in the event of spectating is in fact the production of a certain body, what I call a moving-image-body. This, I claim, develops in connection with different so-called spectatorial contracts, contracts that produce different agential conditions. An examination of some examples from the realm of the mockumentary, notably I’m Still Here (Affleck, 2010), leads me to discuss the core of the issue as one pertaining to the potential production of new realities, and my methodological proposal as a way towards mapping, not what the event of spectating means, but rather what it does.     KEYWORDS Spectatorship, Mockumentary, New Materialism, Genre theory, Audiovisual Event.  

scholarly journals “Bringing the Unseen out of the Shadows”: in Pursuit of Ciné-Trance and Film-Performance in Ben Russell’s the quarry (2002) and TRYPPS #7 (BADLANDS) (2010)

2018 ◽  
Author(s):  
Kornelia Boczkowska
Keyword(s):  
Lived Experience ◽  
Media Studies ◽  
Narrative Paradigm ◽  
Multiple Perspectives ◽  
Moving Image ◽  
Film Performance ◽  
Avant Garde ◽  
The Sublime ◽  
Rotating Camera ◽  
Image Object

This paper aims to present the ways in which Ben Russell’s films, the quarry and TRYPPS #7 (BADLANDS), tend to draw on conventions traditionally associated with ciné-trance (TRYPPS #7), as developed by Jean Rouch, and film-performance (TRYPPS #7 and the quarry). While both pictures invoke the presence of the sublime, the quarry transforms the featured landscape into an image-object and hence fails to represent the lived experience and instead provides the audience with a spectacle or a sensation simultaneously engaging them in the performance on their own terms. Meanwhile, TRYPPS #7’s reliance on ciné-trance becomes more evident in its attempt to expose the hypnotic and deceptive capabilities of moving-image media, which do not only distort the spectator’s rational sense of space and perspective, but also connote the phenomenon of possession itself through featuring the protagonist’s narcotic trance. To achieve the desired effect, Russell creates an atmosphere of sublimity and transcendence by means of structural and avant-garde film’s devices that transcend the realist–narrative paradigm of anthropological filmmaking, including static and kinetic montage, multiple perspectives, hand-held and rotating camera movements, intimate long takes or fixed shots of extended duration.Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Boczkowska, Kornelia. "'Bringing the Unseen out of the Shadows': in Pursuit of Ciné-Trance and Film-Performance in Ben Russell’s the quarry (2002) and TRYPPS #7 (BADLANDS) (2010)." AM Journal of Art and Media Studies 15 (2018): . doi: 10.25038/am.v0i15.235

Living Stereo

2015 ◽  
Keyword(s):  
Twentieth Century ◽  
Media Studies ◽  
Cumulative Effect ◽  
Dominant Mode ◽  
Musical Culture ◽  
Vast Amount ◽  
Screen Media ◽  
History Of ◽  
Advance Research ◽  
The Aesthetic

Stereo is everywhere. The whole culture and industry of music and sound became organized around the principle of stereophony during the twentieth century. But nothing about this-not the invention or acceptance or ubiquity of stereo-was inevitable. Nor did the aesthetic conventions, technological objects, and listening practices required to make sense of stereo emerge fully formed, out of the blue. This groundbreaking book uncovers the vast amount of work that has been required to make stereo seem natural, and which has been necessary to maintain stereo's place as a dominant mode of sound reproduction for over half a century. The essays contained within this book are thematically grouped under (Audio) Positions, Listening Cultures, and Multichannel Sound and Screen Media; the cumulative effect is to advance research in music, sound, and media studies and to build new bridges between the fields. With contributions from leading scholars across several disciplines, Living Stereo re-tells the history of twentieth-century aural and musical culture through the lens of stereophonic sound.

Studying Indian Cinema

2015 ◽  
Author(s):  
Omar Ahmed
Keyword(s):  
Conceptual Framework ◽  
Case Studies ◽  
Media Studies ◽  
Historical Context ◽  
Historical Evolution ◽  
Indian Cinema ◽  
Mira Nair ◽  
Mise En Scene ◽  
Film And Media Studies ◽  
Satyajit Ray

This book traces the historical evolution of Indian cinema through a number of key decades. The book is made up of 14 chapters with each chapter focusing on one key film, the chosen films are analysed in their wider social, political and historical context whilst a concerted engagement with various ideological strands that underpin each film is also evident. In addition to exploring the films in their wider contexts, the book analyses selected sequences through the conceptual framework common to both film and media studies. This includes a consideration of narrative, genre, representation, audience and mise en scène. The case studies run chronologically from Awaara (The Vagabond, 1951) to The Elements Trilogy: Water (2005) and include films by such key figures as Satyajit Ray (The Lonely Wife), Ritwick Ghatak (Cloud Capped Star), Yash Chopra (The Wall) and Mira Nair (Salaam Bombay!).

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