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Cinematic Interfaces

Cinematic Interfaces Author Seung-hoon Jeong
ISBN-10 9781135053499
Release 2013-07-11
Pages 281
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In this book, Seung-hoon Jeong introduces the cinematic interface as a contact surface that mediates between image and subject, proposing that this mediation be understood not simply as transparent and efficient but rather as asymmetrical, ambivalent, immanent, and multidirectional. Jeong enlists the new media term "interface" to bring to film theory a synthetic notion of interfaciality as underlying the multifaceted nature of both the image and subjectivity. Drawing on a range of films, Jeong examines cinematic interfaces seen on screen and the spectator’s experience of them, including: the direct appearance of a camera/filmstrip/screen, the character’s bodily contact with such a medium-interface, the object’s surface and the subject’s face as "quasi-interface," and the image itself. Each of these case studies serves as a platform for remapping and revamping major concepts in film studies such as suture, embodiment, illusion, signification, and indexicality. Looking to such theories as the ontology of the image and the phenomenology of the body, this original theorization of the cinematic interface not only offers a conceptual framework for rethinking and re-linking film and media studies, but also suggests a general theory of the interface.



The Global Auteur

The Global Auteur Author Seung-hoon Jeong
ISBN-10 9781501312656
Release 2016-06-16
Pages 416
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Once heralded and defined by the likes of François Truffaut and Andrew Sarris as a romantic figure of aesthetic individualism, the auteur is reinvestigated here through a novel approach. Bringing established as well as emergent figures of world art cinema to the fore, The Global Auteur shows how politics and philosophy are present in the works of these important filmmakers. They can be still seen leading a fight that their glorious predecessors seemed to have abandoned in the face of global capitalism and the market economy. Yet, as the contributors show, a new world calls for a new cinema, and thus for new auteurs. Covering a range of global auteurs such as Lars von Trier, Lav Diaz, Lee Chang-dong and Abderrahmane Sissako, The Global Auteur provides a much-needed reassessment of the film auteur for the global age.



Film Theory The Basics

Film Theory  The Basics Author Kevin McDonald
ISBN-10 9781317632443
Release 2016-02-12
Pages 196
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Film Theory: The Basics provides an accessible introduction to the key theorists, concepts, and debates that have shaped the study of moving images. It examines film theory from its emergence in the early twentieth century to its study in the present day, and explores why film has drawn special attention as a medium, as a form of representation, and as a focal point in the rise of modern visual culture. The book emphasizes how film theory has developed as a historically contingent discourse, one that has evolved and changed in conjunction with different social, political, and intellectual factors. To explore this fully, the book is broken down into the following distinct sections: Theory Before Theory, 1915-1960 French Theory, 1949-1968 Screen Theory, 1969-1996 Post-Theory, 1996-2015 Complete with questions for discussion and a glossary of both key terms and key theorists, Film Theory: The Basics is an invaluable resource for those new to film studies and for anyone else interested in the history and significance of critical thinking in relation to the moving image.



The Language of New Media

The Language of New Media Author Lev Manovich
ISBN-10 9780262632553
Release 2001
Pages 354
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A stimulating, eclectic account of new media that finds its origins in old media, particularly the cinema.



Closed Circuits

Closed Circuits Author Garrett Stewart
ISBN-10 9780226201351
Release 2015-01-30
Pages 296
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The recent uproar over NSA dataveillance can obscure the fact that surveillance has been part of our lives for decades. And cinema has long been aware of its power—and potential for abuse. In Closed Circuits, Garrett Stewart analyzes a broad spectrum of films, from M and Rear Window through The Conversation to Déjà Vu, Source Code, and The Bourne Legacy, in which cinema has articulated—and performed—the drama of inspection’s unreturned look. While mainstays of the thriller, both the act and the technology of surveillance, Stewart argues, speak to something more foundational in the very work of cinema. The shared axis of montage and espionage—with editing designed to draw us in and make us forget the omnipresence of the narrative camera—extends to larger questions about the politics of an oversight regime that is increasingly remote and robotic. To such a global technopticon, one telltale response is a proliferating mode of digitally enhanced “surveillancinema.”



The Screen Media Reader

The Screen Media Reader Author Stephen Monteiro
ISBN-10 9781501311697
Release 2017-01-12
Pages 488
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Offers key historical and interpretative texts on the development and role of "the screen" in communications and the social sphere.



Software Takes Command

Software Takes Command Author Lev Manovich
ISBN-10 9781623567453
Release 2013-07-04
Pages 357
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Offers the first look at the aesthetics of contemporary design from the theoretical perspectives of media theory and 'software studies'.



Cinematic Chronotopes

Cinematic Chronotopes Author Pepita Hesselberth
ISBN-10 9781623566470
Release 2014-06-19
Pages 208
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The site of cinema is on the move. The extent to which technologically mediated sounds and images continue to be experienced as cinematic today is largely dependent on the intensified sense of being 'here,' 'now' and 'me' that they convey. This intensification is fundamentally rooted in the cinematic's potential to intensify our experience of time, to convey time's thickening, of which the sense of place, and a sense of self-presence are the correlatives. In this study, Pepita Hesselberth traces this thickening of time across four different spatio-temporal configurations of the cinematic: a multi-media exhibition featuring the work of Andy Warhol (1928-1987); the handheld aesthetics of European art-house films; a large-scale media installation by Rafael Lozano-Hemmer; and the usage of the trope of the flash-forward in mainstream Hollywood cinema. Only by juxtaposing these cases by looking at what they have in common, this study argues, can we grasp the complexity of the changes that the cinematic is currently undergoing.



Film History As Media Archaeology

Film History As Media Archaeology Author Thomas Elsaesser
ISBN-10 9462984891
Release 2018-01-15
Pages 416
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Since cinema has entered the digital era, its very nature has come under renewed scrutiny. Countering the "death of cinema" debate, Film History as Media Archaeology? presents a robust argument for cinema's current status as a new epistemological object of interest to philosophers, while also examining the presence of moving images in museum and art spaces as a challenge for art history. The study is the fruit of twenty years of research and writing at the interface of film history, media theory, and media archaeology by one of the acknowledged pioneers of new film history and media archaeology. It joins the efforts of other media scholars to locate cinema's historical emergence and subsequent transformations within the broader field of media change and interaction as we experience them today.



The Interface Effect

The Interface Effect Author Alexander R. Galloway
ISBN-10 9780745662923
Release 2013-05-20
Pages 200
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Interfaces are back, or perhaps they never left. The familiar Socratic conceit from the Phaedrus, of communication as the process of writing directly on the soul of the other, has returned to center stage in today's discussions of culture and media. Indeed Western thought has long construed media as a grand choice between two kinds of interfaces. Following the optimistic path, media seamlessly interface self and other in a transparent and immediate connection. But, following the pessimistic path, media are the obstacles to direct communion, disintegrating self and other into misunderstanding and contradiction. In other words, media interfaces are either clear or complicated, either beautiful or deceptive, either already known or endlessly interpretable. Recognizing the limits of either path, Galloway charts an alternative course by considering the interface as an autonomous zone of aesthetic activity, guided by its own logic and its own ends: the interface effect. Rather than praising user-friendly interfaces that work well, or castigating those that work poorly, this book considers the unworkable nature of all interfaces, from windows and doors to screens and keyboards. Considered allegorically, such thresholds do not so much tell the story of their own operations but beckon outward into the realm of social and political life, and in so doing ask a question to which the political interpretation of interfaces is the only coherent answer. Grounded in philosophy and cultural theory and driven by close readings of video games, software, television, painting, and other images, Galloway seeks to explain the logic of digital culture through an analysis of its most emblematic and ubiquitous manifestation – the interface.



Life After New Media

Life After New Media Author Sarah Kember
ISBN-10 9780262018197
Release 2012
Pages 268
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A call for a "rigorous cross-disciplinary interventions and inventions that will be equally at home with critical theory and media practice and will be prepared and able to make a difference--academically, institutionally, politically, ethically, and aesthetically" (p. 201).



Reading the Figural Or Philosophy After the New Media

Reading the Figural  Or  Philosophy After the New Media Author David Rodowick
ISBN-10 0822327228
Release 2001-09-11
Pages 276
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DIVTheorizes the concept of the figural as a way to get beyond the long held aesthetic distinction between plastic and linguistic arts, a distinction that will not work for film and new media./div



Postnaturalism

Postnaturalism Author Shane Denson
ISBN-10 9783839428177
Release 2014-07
Pages 432
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»Postnaturalism« offers an original account of human-technological co-evolution and argues that film and media theory, in particular, needs to be re-evaluated from the perspective of our material interfaces with a constantly changing environment. Extrapolating from Frankenstein films and the resonances they establish between a hybrid monster and the spectator hooked into the machinery of the cinema, Shane Denson engages debates in science studies and philosophy of technology to rethink histories of cinema, media, technology, and ultimately of the affective channels of our own embodiment. With a foreword by media theorist Mark B. N. Hansen.



On the Sleeve of the Visual

On the Sleeve of the Visual Author Alessandra Raengo
ISBN-10 9781584659747
Release 2013
Pages 232
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An investigation of race and the ontology of the visual



Social Theory after the Internet

Social Theory after the Internet Author Ralph Schroeder
ISBN-10 9781787351226
Release 2018-01-04
Pages 208
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The internet has fundamentally transformed society in the past 25 years, yet existing theories of mass or interpersonal communication do not work well in understanding a digital world. Nor has this understanding been helped by disciplinary specialization and a continual focus on the latest innovations. Ralph Schroeder takes a longer-term view, synthesizing perspectives and findings from various social science disciplines in four countries: the United States, Sweden, India and China. His comparison highlights, among other observations, that smartphones are in many respects more important than PC-based internet uses. Social Theory after the Internet focuses on everyday uses and effects of the internet, including information seeking and big data, and explains how the internet has gone beyond traditional media in, for example, enabling Donald Trump and Narendra Modi to come to power. Schroeder puts forward a sophisticated theory of the role of the internet, and how both technological and social forces shape its significance. He provides a sweeping and penetrating study, theoretically ambitious and at the same time always empirically grounded.The book will be of great interest to students and scholars of digital media and society, the internet and politics, and the social implications of big data.



The NewMediaReader

The NewMediaReader Author Noah Wardrip-Fruin
ISBN-10 0262232278
Release 2003
Pages 823
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A sourcebook of historical written texts, video documentation, and working programs that form the foundation of new media.



Interactive Digital Narrative

Interactive Digital Narrative Author Hartmut Koenitz
ISBN-10 9781317668671
Release 2015-04-10
Pages 286
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The book is concerned with narrative in digital media that changes according to user input—Interactive Digital Narrative (IDN). It provides a broad overview of current issues and future directions in this multi-disciplinary field that includes humanities-based and computational perspectives. It assembles the voices of leading researchers and practitioners like Janet Murray, Marie-Laure Ryan, Scott Rettberg and Martin Rieser. In three sections, it covers history, theoretical perspectives and varieties of practice including narrative game design, with a special focus on changes in the power relationship between audience and author enabled by interactivity. After discussing the historical development of diverse forms, the book presents theoretical standpoints including a semiotic perspective, a proposal for a specific theoretical framework and an inquiry into the role of artificial intelligence. Finally, it analyses varieties of current practice from digital poetry to location-based applications, artistic experiments and expanded remakes of older narrative game titles.