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Books on the topic 'Filmic media'

Author: Grafiati
Published: 10 September 2021
Last updated: 12 February 2022

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1

Sokołowski, Marek. Wokół zagadnień audiowizji: Szkice o filmie, telewizji, wideo. Olsztyn: Polskie Stowarzyszenie Filmu Nauk., 1996.

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2

Spencer-Hall, Alicia. Medieval Saints and Modern Screens. NL Amsterdam: Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462982277.

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This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the disconcerting physical and emotional effects of watching cinema. Moreover, cinematic spectatorship affords, at times, a (more or less) secular experience of visionary transcendence: an 'agape-ic encounter'. The medieval saint's visions of God are but one pole of a spectrum of visual experience which extends into our present multi-media moment. We too conjure godly visions: on our smartphones, on the silver screen, and on our TVs and laptops. This book places contemporary pop-culture media - such as blockbuster movie The Dark Knight, Kim Kardashian West's social media feeds, and the outputs of online role-players in Second Life - in dialogue with a corpus of thirteenth-century Latin biographies, 'Holy Women of Liège'. In these texts, holy women see God, and see God often. Their experiences fundamentally orient their life, and offer the women new routes to knowledge, agency, and belonging. For the holy visionaries of Liège, as with us modern 'seers', visions are physically intimate, ideologically overloaded spaces. Through theoretically informed close readings, Medieval Saints and Modern Screens reveals the interconnection of decidedly 'old' media - medieval textualities - and artefacts of our 'new media' ecology, which all serve as spaces in which altogether human concerns are brought before the contemporary culture's eyes.
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3

Voullième, Helmut. Gewalt in Filmen und TV-Spielen: Eine vergleichende Inhaltsanalyse. Düsseldorf: Livonia Verlag, 1992.

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4

History in the Media. Santa Barbara: ABC-CLIO, 2008.

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5

Fox, Broderick. Documentary media: History, theory, practice. Boston: Allyn & Bacon, 2010.

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6

French cinema: Critical concepts in cultural and media studies. Abingdon, Oxon: Routledge, 2013.

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7

Greifenstein, Sarah. Tempi der Bewegung – Modi des Gefühls. Berlin/Boston: De Gruyter, 2020.

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8

Media authorship. New York: Routledge, 2012.

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9

Remakes and remaking: Concepts - media - practices. Bielefeld: Transcript, 2015.

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10

Elsaesser, Thomas. Film History as Media Archaeology. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789462980570.

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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 the cinema's current status as a new epistemological object, of interest to philosophers, while also examining the presence of moving images in the museum and art spaces as a challenge for art history. The current study is the fruit of some twenty years of research and writing at the interface of film history, media theory and media archaeology by one of the acknowledged pioneers of the '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.
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11

Syvertsen, Trine. Media Resistance: Protest, Dislike, Abstention. Basingstoke: Springer Nature, 2017.

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12

editor, Jackson Neil 1968, Walker Johnny 1987 editor, and Watson, Thomas Joseph, 1987- editor, eds. Snuff: Real death and screen media. New York: Bloomsbury Academic, 2016.

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13

Craft, John. Electronic media. Belmont, CA: Wadsworth Thomson Learning, 2001.

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14

Touch: Sensuous theory and multisensory media. Minneapolis: University of Minnesota Press, 2002.

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15

The anime machine: A media theory of animation. Minneapolis, MN: University of Minnesota Press, 2009.

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16

B, Musburger Robert, ed. Introduction to media production: The path to digital media production. 3rd ed. Burlington, MA: Focal Press, 2005.

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17

Anime, tokusatsu, SF, eiga media dokuhon: Janru mūbī e no shōtai. Ōsaka-shi: Seishinsha, 2006.

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18

Walton, Saige. Cinema's Baroque Flesh. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089649515.

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In Cinema's Baroque Flesh, Saige Walton draws on the philosophy of Maurice Merleau-Ponty to argue for a distinct aesthetic category of film and a unique cinema of the senses: baroque cinema. Combining media archaeological work with art history, phenomenology, and film studies, the book offers close analyses of a range of historic baroque artworks and films, including Caché, Strange Days, the films of Buster Keaton, and many more. Walton pursues previously unexplored connections between film, the baroque, and the body, opening up new avenues of embodied film theory that can make room for structure, signification, and thought, as well as the aesthetics of sensation.
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19

On media memory: Collective memory in a new media age. Houndmills, Basingstoke, Hampshire, UK: Palgrave Macmillan, 2011.

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20

Chateau, Dominique. Post-cinema: Cinema in the Post-art Era. Amsterdam: Amsterdam University Press, 2020.

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21

Walsch, Frances M. Intelligence in contemporary media. New York: Nova Science Publisher's, 2011.

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22

MAGIS--Gradisca International Film Studies Spring School, ed. Il porno espanso: Dal cinema ai nuovi media. Milano: Mimesis, 2011.

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23

Stevens, E. Charlotte. Fanvids. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985865.

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Fanvids, or vids, are short videos created in media fandom. Made from television and film sources, they are neither television episodes nor films; they resemble music videos but are non-commercial fanworks that construct creative and critical analyses of existing media. The creators of fanvids-called vidders-are predominantly women, whose vids prompt questions about media historiography and pleasures taken from screen media. Vids remake narratives for an attentive fan audience, who watch with a deep knowledge of the source text(s), or an interest in the vid form itself. Fanvids: Television, Women, and Home Media Re-Use draws on four decades of vids, produced on videotape and digitally, to argue that the vid form's creation and reception reveals a mode of engaged spectatorship that counters academic histories of media audiences and technologies. Vids offer an answer to the prevalent questions: What happens to television after it's been aired? How and by whom is it used and shared? Is it still television?
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24

The horror sensorium: Media and the senses. Jefferson, N.C: McFarland & Company, Inc., Publishers, 2012.

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25

Adelstein, Peter Z. IPI media storage: Quick reference. Rochester, NY: Image Permanence Institute, Rochester Institute of Technology, 2004.

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26

How to read a film: The world of movies, media, and multimedia : language, history, theory. 3rd ed. New York: Oxford University Press, 2000.

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27

Nagle, Jeanne M. Violence in movies, music, and the media. New York: Rosen Pub. Group, 2009.

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28

Bolter, Jay David. Digital Media and the Future of Filmic Narrative. Oxford University Press, 2008. http://dx.doi.org/10.1093/oxfordhb/9780195175967.013.0002.

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29

Chang, Jing Jing. Screening Communities. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888455768.001.0001.

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Screening Communities uses multi-media archival sources, including government archives, memoirs, fan magazines, newspaper reports, and films to narrate the complexity of social change and political turmoil, both screened and lived, in postwar Hong Kong. In particular, Screening Communities explores the political, ideological, and cultural work of Hong Kong film culture and its role in the building of a postwar Hong Kong community during the 1950s and 1960s, which was as much defined by lived experiences as by a cinematic construction, forged through negotiations between narratives of empire, nation, and the Cold War in and beyond Hong Kong. As such, in order to appreciate the complex formation of colonial Hong Kong society, Screening Communities situates the analysis of the “poetics” of postwar Hong Kong film culture within the larger global processes of colonialism, nationalism, industrialization, and Cold War. It argues that postwar Hong Kong cinema is a three-pronged process of “screening community” that takes into account the factors of colonial governance, filmic expression of left-leaning Cantonese filmmakers, and the social makeup of audiences as discursive agents. Through a close study of genre conventions, characterization, and modes of filmic narration across select Cantonese films and government documentaries, I contend that 1950s and 1960s Hong Kong cinema, broadly construed, became a site par excellence for the construction and translation (on the ground and onscreen) of a postwar Hong Kong community, whose context was continually shifting—at once indigenous and hybrid, postcolonial and global.
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30

Tulloch, John, and Belinda Middleweek. Real Sex Films. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.001.0001.

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Within the domain of film studies, the recent surge in films depicting graphic and high-impact sex and sexualized violence has been variously classified under the terms transgressive, brutal, provocative, real sex, and extreme cinema. These classifications, however, tend to underplay the films’ sociohistorical contexts and reflexive struggle for meaning. We argue that the similarities and differences between these real or simulated sex films are determined and mediated within geographical space and historical time. But every film book has its own personal historical starting point: in our case, this is the coming together as intertexts of the real sex film Intimacy with a major academic text, The Transformation of Intimacy, and as authorial agents of a television and documentary film producer and a media academic. This book argues that the meanings we attach to “real sex” cinema are discursively constructed not only by academic experts but by filmmakers, performers, audiences, and film reviewers. Debates about the meaning of real sex cinema are best understood in dialogue, and for the first time in interdisciplinary studies, we foster “mutual understanding” and “critical extension” among new risk sociology, feminist mapping theory, feminist film studies, and film reviewers, while also embracing film/media studies concepts of production, social audiences and spectators, genre, narrative, authorship, and stars. Above all, this is an interdisciplinary book, which engages with, supports, critiques, and extends each of these professional fields of discourse, each with its own schema of filmic understanding.
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31

Rogers, Holly. Audiovisual Dissonance in Found-Footage Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0010.

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Drawing on ideas of the Surrealist automatic and filmic détournement, artists working with found footage are able to construct new meanings and aesthetics by deconstructing completed audiovisual texts. When original music is retained, or replaced by a new sonic collage, the disjointed sonic flow problematises and enhances the collage aesthetic by extending the possibilities for juxtaposition not only in a linear fashion, but also in a vertical, audiovisual direction, a process that highlights the materiality and artifice of the new combination of images. Here, pre-used footage can be collaged in such a way as to bring to the fore the conventions of mainstream cinematography and the languages of mass media. The result is not audiovisual synchronicity, but rather collision, or dissonance. Through the close reading of several found-footage films, this chapter traces the evolution of an activated form of audiovisual consumption that arises from a process of alienated listening.
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32

Stackpole, Michael A. Science Fiction across Media. Gylphi Limited, 2013.

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33

Jackson, Robert. Migrant Media. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190660178.003.0003.

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Chapter 2 provides a history of southern migration and its impact on American culture at large. Most pointedly, black and white southern migrants to Los Angeles contributed in fundamental ways to the development of the Hollywood studio system, and the “southernization” of many of its institutions. Southern filmmakers included D. W. Griffith and many of his acolytes and younger peers. Other southerners occupied positions throughout the industry, and the enormous output of films registered southern history and culture in many ways: in the appearances of southern actors, in the presence of jazz, in films of every genre, and perhaps more than anything else in the ubiquitous presence of segregation, which the system as a whole had adopted for its own purposes.
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34

Iyengar, Sujata. Intermediated Bodies and Bodies of Media. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.36.

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This essay argues that, when screen media such as television, film, and digital video appropriate and remediate Othello, they do so through intermediality: the simultaneous and self-conscious communication of information and experiences through multiple material and sensory modes. Using Dmitri Buchowetski’s silent version, Orson Welles’s feature film, Geoffrey Sax’s British movie, and Zaib Shaikh’s television films, Ready Set Go Theatre’s web-series, and the National Theatre Live streamed performances as case-histories, the chapter investigates ‘race’ itself as a communicative medium. It concludes that screens ‘screen’ Othello in two senses: they magnify suffering, breathing, human bodies in front of us even as they shelter us from the lived truth of race in the world.
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35

Motegi, Mikihiro. Hoso media to eiga ongaku. Tairyusha, 1988.

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36

Curtis, Scott, Tami Williams, Frank Gray, Kaveh Askari, and Louis Pelletier. Performing New Media, 1890-1915. Indiana University Press, 2014.

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37

Performing New Media, 1890-1915. Indiana University Press, 2014.

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38

Fox, Broderick. Documentary Media: History, Theory, Practice. Taylor & Francis Group, 2017.

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39

Fox, Broderick. Documentary Media: History, Theory, Practice. Taylor & Francis Group, 2017.

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40

Fox, Broderick. Documentary Media: History, Theory, Practice. Routledge, 2017.

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41

Documentary Media: History, Theory, Practice. Taylor & Francis Group, 2017.

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42

Holliday, Christopher. The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.001.0001.

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The Computer-Animated Film: Industry, Style and Genre is the first academic work to examine the genre identity of the computer-animated film, a global phenomenon of popular cinema that first emerged in the mid-1990s at the intersection of feature-length animated cinema and Computer-Generated Imagery (CGI). Widely credited for the revival of feature-length animated filmmaking within contemporary Hollywood, computer-animated films are today produced within a variety of national contexts and traditions. Covering thirty years of computer-animated film history, and analysing over 200 different examples, The Computer-Animated Film: Industry, Style and Genre argues that this international body of work constitutes a unique genre of mainstream cinema. It applies, for the very first time, genre theory to the landscape of contemporary digital animation, and identifies how computer-animated films can be distinguished in generic terms. This book therefore asks fundamental questions about the evolution of film genre theory within both animation and new media contexts. Informed by wider technological discourses and the status of animation as an industrial art form, The Computer-Animated Film: Industry, Style and Genre not only theorises computer-animated films through their formal properties, but connects elements of film style to animation practice and the computer-animated film’s unique production contexts.
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43

Lamarre, Thomas. Anime Ecology: A Genealogy of Television, Animation, and Game Media. University of Minnesota Press, 2018.

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44

Anime Ecology: A Genealogy of Television, Animation, and Game Media. University of Minnesota Press, 2018.

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45

The Documentary Handbook (Media Practice). Routledge, 2008.

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46

The Documentary Handbook (Media Practice). Routledge, 2008.

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47

The Scary Screen Media Anxiety In The Ring. Ashgate Publishing, 2010.

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48

1969-, Hediger Vinzenz, and Vonderau Patrick, eds. Films that work: Industrial film and the productivity of media. Amsterdam: Amsterdam University Press, 2009.

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49

Fantasy/Animation: Connections Between Media, Mediums and Genres. Routledge, 2018.

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50

Reverse Shots Film and Media Studies. Wilfrid Laurier University Press, 2012.

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