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Journal articles on the topic 'New korean cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Yecies, Brian, Ae-Gyung Shim, and Ben Goldsmith. "Digital Intermediary: Korean Transnational Cinema." Media International Australia 141, no. 1 (November 2011): 137–45. http://dx.doi.org/10.1177/1329878x1114100116.

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Since censorship was lifted in Korea in 1996, collaboration between Korean and foreign filmmakers has grown in both extent and visibility. Korean films have been shot in Australia, New Zealand and mainland China, while the Korean digital post-production and visual effects firms behind blockbusters infused with local effects have gone on to work with filmmakers from greater China and Hollywood. Korean cinema has become known for its universal storylines, genre experimentation and high production values. The number of exported Korean films has increased, as has the number of Korean actors starri

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2

Park, Heebon, and Andrew Finch. "Promoting intercultural sensitivity through New Korean Cinema films." East Asian Journal of Popular Culture 2, no. 2 (July 1, 2016): 169–91. http://dx.doi.org/10.1386/eapc.2.2.169_1.

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Teo Kia Choong, Kevin. "Old/New Korea(s): Korean‐ness, Alterity, and Dreams of Re‐Unification in South Korean Cinema." Contemporary Justice Review 8, no. 3 (September 2005): 321–34. http://dx.doi.org/10.1080/10282580500133128.

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4

Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.

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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phe

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5

Lee, Nikki Ji Yeon. "New Korean Cinema, and: South Korean Golden Age Melodrama: Gender, Genre, and National Cinema (review)." Journal of Korean Studies 11, no. 1 (2006): 191–95. http://dx.doi.org/10.1353/jks.2006.0000.

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6

CHUNGSTEVEN and Moon-Im Baek. "Guest Editors' Introduction: New Cartographies and Archaeologies of Korean Cinema." Review of Korean Studies 18, no. 1 (June 2015): 7–12. http://dx.doi.org/10.25024/review.2015.18.1.001.

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7

Klein, Christina. "The AFKN nexus: US military broadcasting and New Korean Cinema." Transnational Cinemas 3, no. 1 (May 22, 2012): 19–39. http://dx.doi.org/10.1386/trac.3.1.19_1.

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8

HyoIn Yi. "Coevolution of Conventions and Korean New Wave: Korean Cinema in the 1970s and 80s." Korea Journal 59, no. 4 (December 2019): 78–102. http://dx.doi.org/10.25024/kj.2019.59.4.78.

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9

Chung, Hye Seung. "Multiculturalism as “New Enlightenment”: The Myth of Hypergamy and Social Integration in Punch." Journal of Korean Studies 23, no. 1 (March 1, 2018): 135–52. http://dx.doi.org/10.1215/21581665-4339089.

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Abstract This article examines the commercially successful multicultural film Punch (Wan-dŭk i, Yi Han, 2011) as an example of new “enlightenment” (kaemong) cinema, one that—like its precedents in the South Korean Golden Age cinema of the 1950s and 1960s—supports the official government policy. While classic enlightenment films made during the Cold War era endorsed state-sanctioned narratives of anticommunism, modernization, and development, Punch toes the line of the South Korean government’s millennial project of multiculturalism (tamunhwa). Despite its intent to create a hopeful, affirmativ

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10

Juknevičiūtė, Laima. "The soft power implications of the new South Korean cinema: Approaching audiences in East Asia and Lithuania." Acta Orientalia Vilnensia 12, no. 1 (January 1, 2011): 121–37. http://dx.doi.org/10.15388/aov.2011.0.1100.

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Vytautas Magnus UniversitySouth Korea’s experience wielding soft power is usually associated with the Korean Wave, which swept the Asian region off its feet predominantly during the first decade of this century. In this article I will however argue that the phenomenon of the Korean Wave has never been intended as a calculated attempt on the part of the South Korean government to enhance the overall South Korean image worldwide and thus increase South Korean international might and prestige. To prove the validity of this hypothesis, I will provide a concise historical overview of the inception,

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11

Yecies, Brian. "Transnational collaboration of the multisensory kind: Exploiting Korean 4D cinema in China." Media International Australia 159, no. 1 (April 13, 2016): 22–31. http://dx.doi.org/10.1177/1329878x16640104.

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This article explores how technicians working in the cinema exhibition arm of the Korean conglomerate CJ Global are pioneering the diffusion of four-dimensional (4D) motion widescreen cinema technology. It analyzes the 4D work-flow processes being developed to connect Asian and Hollywood films with local audiences via motion and environmental special effects, as well as some of the cultural assumptions underlying this new technology transfer. As a case study, this article investigates how the Korean 4D team in Beijing is seeking to appeal to Chinese audiences through this innovative process, w

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12

Choi, Jinhee. "Review: New Korean Cinema Edited by Chi-Yun Shin and Julian Stringer." Film Quarterly 60, no. 3 (2007): 83–84. http://dx.doi.org/10.1525/fq.2007.60.3.83.

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13

Kim, Sohyoun. "On the Problematics of Ex-sistence of Modernism in the History of Korean Cinema: Notes on the Singularity of Korean New Wave Cinema during the 1990s." Film Studies 85 (September 30, 2020): 383–407. http://dx.doi.org/10.17947/fs.2020.9.85.383.

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14

Kim, K. H. "Male Crisis in New Korean Cinema: Reading the Early Films of Park Kwang-su." positions: east asia cultures critique 9, no. 2 (September 1, 2001): 369–99. http://dx.doi.org/10.1215/10679847-9-2-369.

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15

Lee, Moonwoo. "The New Aspect of Queer Korean Cinema and Imagination of Post-Queernation: Focusing on Weekends." Journal of Humanities and Social sciences 21 11, no. 1 (February 28, 2020): 665–78. http://dx.doi.org/10.22143/hss21.11.1.49.

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16

Soh, Kai, and Brian Yecies. "Korean–Chinese Film Remakes in a New Age of Cultural Globalisation: Miss Granny (2014) and 20 Once Again (2015) along the Digital Road." Global Media and China 2, no. 1 (March 2017): 74–89. http://dx.doi.org/10.1177/2059436416687105.

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Since the early 2000s, the Korean Wave (aka Hallyu) has influenced Greater China in enterprising and complex ways that diverge from the ways in which Hallyu has impacted other markets. At the same time, since China joined the Word Trade Organization in 2001, art, culture and media production have been largely transformed from vehicles for state propaganda into new gateways for producing and showcasing popular commercial entertainment. Korean producers have played a significant role in this evolving transformation, albeit in a cultural space that the Government of Mainland China still uses and

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17

Fadeeva, Alina Vitalievna, Daria Anatolevna Puiu, Pavel Yurievich Gurushkin, Sergey Borisovich Nikonov, and Iuliia Valerievna Puiu. "Impact of diversifying media content on country's economic potential: case study of South Korea." LAPLAGE EM REVISTA 7, Extra-D (July 12, 2021): 187–99. http://dx.doi.org/10.24115/s2446-622020217extra-d1085p.187-199.

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The popularity of Korean pop culture in the world can be considered an exceptional phenomenon of 2020. One should note that processes reflecting the effective interaction of state structures with the spheres of the creative industry in the modern economy have a special scientific potential at the moment. These creative industry spheres include art, cinema, animation, music, game development and software products. The most successful case in this area is the developed system of cultural media export in South Korea. Research into the economic opportunities of creative industries as a new stage i

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18

이순진. "The advent of new production companies and film stars in colonial Korean cinema of the 1930s." Journal of Korean drama and theatre ll, no. 30 (October 2009): 117–50. http://dx.doi.org/10.17938/tjkdat.2009..30.117.

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19

Park, Nohchool. "The new waves at the margin: an historical overview of South Korean cinema movements 1975–84." Journal of Japanese and Korean Cinema 1, no. 1 (January 2009): 45–63. http://dx.doi.org/10.1386/jjkc.1.1.45_1.

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20

정영권. "From Realism to Consumerism -A Social and Cultural History of Korean and British New Wave Cinema-." Contemporary Film Studies 14, no. 3 (August 2018): 177–212. http://dx.doi.org/10.15751/cofis.2018.14.3.177.

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21

MÀRTONOVA, Andronika. "THE WORLD OF KOREA IN THE BULGARIAN FILMS DIRECTED BY YANA LEKARSKA." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (March 27, 2020): 79–85. http://dx.doi.org/10.37708/ezs.swu.v18i1.9.

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n the recent years, several Bulgarian cinematic works have put into the space frame some kind of new artistic enactment with many different and even unrecognised identities, along with their visible stereotypes, patterns and models of representation: the well-known Bulgarian identity starts dialogising through screen with Far East (in general plan) cultures and unfamiliar Asian characters. This is definitely something absolutely new to the national cinema, i.e. to realize original themes and stories on the Bulgarian-Asian axis, to introduce totally unused, even attractive personages, often eve

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22

Plaice, Mark R. "Domesticating gangsters? Home/work conflicts in South Korean family drama gangster film." East Asian Journal of Popular Culture 6, no. 2 (August 1, 2020): 275–92. http://dx.doi.org/10.1386/eapc_00030_1.

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Gangster films are largely an urban genre set in the mean streets of metropolitan ganglands. A significant proportion of South Korean gangster films depart from this spatial convention, however, setting their central family or romance plots in the domestic space of the apartment. This article addresses the question of why we find gangsters in domestic space in South Korean cinema and examines what the domestic setting ‘does’ to the gangster film. The Show Must Go On (2008) is discussed in detail to exemplify the ways that questions of masculinity, gendered family role performance and class anx

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23

Kim, Kyung Hyun. "Sovereign Violence: Ethics and South Korean Cinema in the New Millennium. By Steve Choe . Amsterdam: Amsterdam University Press, 2016. 319 pp. ISBN: 9789089646385 (cloth)." Journal of Asian Studies 76, no. 3 (July 31, 2017): 816–17. http://dx.doi.org/10.1017/s0021911817000675.

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24

Sunjoo Lee. "Discourses on New Cinema in Younghwa-yesul(Film Art)―The Professionalization of Film Criticism and the Institutionalization of Korean Film Studies in the 1960s." Journal of Popular Narrative 24, no. 3 (August 2018): 42–83. http://dx.doi.org/10.18856/jpn.2018.24.3.002.

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25

Kim, Kyung Hyun. "Contemporary Korean Cinema: Identity, Culture, and Politics. By Hyangjin Lee. Manchester and New York: Manchester University Press, 2000. viii, 244 pp. $74.95 (cloth); $24.95 (paper)." Journal of Asian Studies 60, no. 4 (November 2001): 1210–11. http://dx.doi.org/10.2307/2700077.

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26

Kim, Kyu Hyun. "Tourist Distractions: Traveling and Feeling in Transnational Hallyu Cinema by Youngmin Choe, and: New Korean Wave: Transnational Cultural Power in the Age of Social Media by Dal Yong Jin." Harvard Journal of Asiatic Studies 77, no. 2 (2017): 528–36. http://dx.doi.org/10.1353/jas.2017.0040.

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27

Pett, Emma. "Movie migrations: transnational genre flows and South Korean cinema, by Hye Seung Chung and David Scott Diffrient, New Brunswick, New Jersey and London, Rutgers University Press, 2015, 288 pp., $29.95 (paperback), ISBN 978-0-8135-6997-7-0." Transnational Cinemas 9, no. 1 (September 2016): 124–25. http://dx.doi.org/10.1080/20403526.2016.1219572.

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28

Cho, Michelle. "Movie Migrations: Transnational Genre Flows and South Korean Cinema. By Hye Seung Chung and David Scott Diffrient . New Brunswick, N.J.: Rutgers University Press, 2015. vii, 291 pp. ISBN: 9780813569987 (cloth, also available in paper and as e-book)." Journal of Asian Studies 75, no. 4 (November 2016): 1146–48. http://dx.doi.org/10.1017/s0021911816001455.

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29

Paksiutov, Georgii D. "Transformation of the Global Film Industry: Prospects for Asian Countries." Russia in Global Affairs 19, no. 2 (2021): 111–32. http://dx.doi.org/10.31278/1810-6374-2021-19-2-111-132.

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The current rapid development of some Asian economies and the projected economic dominance of Asia in the 21st century are reasons enough to call it “the Asian century.” But will Asia’s economic growth entail an increase in political power and cultural influence? In this article the author looks at the topic through the lens of the film industry, a field of activity with a plethora of intertwined economic, political, and cultural factors. Cinema is studied here as an industry that produces “meanings” and is coupled with the concept of “strategic narratives.” According to some statistics, Asian

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30

Lamarre, Thomas. "Regional tv: Affective Media Geographies." Asiascape: Digital Asia 2, no. 1-2 (January 15, 2015): 93–126. http://dx.doi.org/10.1163/22142312-12340021.

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The rise of what has been called ‘new television’ or ‘media regionalism’ in East Asia has occurred in a context in which the production of media networks ‒ both infrastructures (broadcast and relay stations, satellites, cable systems) and media devices or platforms (tvsets,vcr,vcd, and mobile phones) ‒ outstrips the production of contents. The essay considers the question: what is coming into common through this emerging sense of media regionalism? Looking at the highly popular seriesHana yori dangoor ‘Boys over Flowers’, which has been formatted across media forms (such as manga, animatedtvse

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31

Lee, Jieun, Taeseon Lee, Hong Yul Seo, Minho Lee, Seunghwan Lee, Ki–Jeong Hong, and Wonhoon Lee. "One new record of the genus Cinara Curtis, 1835 (Hemiptera: Aphididae: Lachninae) from Korea." Journal of Asia-Pacific Biodiversity 13, no. 3 (September 2020): 465–69. http://dx.doi.org/10.1016/j.japb.2020.04.004.

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32

McKeown, Will. "Self-sacrifice in Train to Busan (2016)." New Cinemas: Journal of Contemporary Film 17, no. 1 (March 1, 2020): 69–84. http://dx.doi.org/10.1386/ncin_00005_1.

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In order to recognize and calibrate the two parts to its structure, self-sacrifice in zombie cinema will be examined in terms of survival-based and emotion-based motivational frameworks. The interaction of these frameworks will be unpacked and their properties, differences and similarities will be appraised and questioned. Examinations of this kind require three different analytical methods that therefore determine the structure of this article. The first section will outline how the survival and emotional-based motivational frameworks exist within the same sequence in Train to Busan (2016). T

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33

Barker, Thomas. "Colonial Mobility and Ambiguity: The Life of Filmmaker Hinatsu/Huyung." TRaNS: Trans -Regional and -National Studies of Southeast Asia 5, no. 2 (April 19, 2017): 197–215. http://dx.doi.org/10.1017/trn.2017.3.

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AbstractColonial subjects caught up supporting colonialism have often been seen as either engaging in an encounter of ambivalence or seen as traitors in post-independence nationalist historiography. Rather than following this established binary of possible subject positions, this article considers the unique biography of a filmmaker known in Indonesia as Dr Huyung. Prior work on Dr Huyung has either considered the pre and post 1945 stages of his life in isolation thus making incomplete assessments of his life and contributions. By bringing these two periods into conversation, a complete biogra

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34

Safitra, Febriartha Dwi Wahyu, Ni Kadek Yuni Utami, and Ni Wayan Ardiarani Utami. "REDESAIN INTERIOR NEW STAR CINEPLEX TIMBUL JAYA PLAZA DI KOTA MADIUN." Jurnal Patra 2, no. 1 (May 2, 2020): 19–26. http://dx.doi.org/10.35886/patra.v2i1.83.

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Febriartha Dwi Wahyu Safitra1, Ni Kadek Yuni Utami 2, Ni Wayan Ardiarani Utami3  1,2,2Sekolah Tinggi Desain Bali, Denpasar,Bali - Indonesia  e-mail: febrisafitra97@gmail.com1 A B S T R A C T Movie theater is one of public entertainment designed to give a good quality audio-visual and services to people who would like to spend their time to watch a movie. The purpose of this redesign is to increasing the quality of services provided into movie theater, also to attracting public interest of Indonesian movie world by serving a good facilities and accommodation

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35

"New Korean cinema." Choice Reviews Online 43, no. 06 (February 1, 2006): 43–3304. http://dx.doi.org/10.5860/choice.43-3304.

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36

Holloway, Ron. "Pusan 2001." Kinema: A Journal for Film and Audiovisual Media, April 10, 2002. http://dx.doi.org/10.15353/kinema.vi.1004.

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PUSAN INTERNATIONAL FILM FESTIVAL 2001 Korean cinema officially came of age at the Sixth Pusan International Film Festival (9-17 November 2001) when all three international awards -- the New Currents Award, the FIPRESCI (International Critics) Award, and the NETPAC (Network for the Promotion of Asian Cinema) Award -- were given to Korean films over entries from other Asian countries. Among Pusan devotees, there had never been any doubt that Korean filmmakers commanded a front position in the ranks of Asian cinema. But when the awards were handed out on closing night in the brand new Busan Exhi

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37

"The New Zombie Apocalypse and Social Crisis in South Korean Cinema." Coolabah, 2019. http://dx.doi.org/10.1344/co201927150-166.

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38

Holloway, Ron. "Singapore 2004." Kinema: A Journal for Film and Audiovisual Media, November 20, 2004. http://dx.doi.org/10.15353/kinema.vi.1065.

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SINGAPORE INTERNATIONAL FILM FESTIVAL 2004 For nearly two decades, the Singapore International Film Festival (SIFF), the showcase of Southeast Asian cinema, has also served as a timely beacon for other key Asian film festivals. Pusan in Korea, Filmex in Tokyo, and Cinefan in New Delhi have benefited from Singapore, simply because SIFF was on the scene first and did all the spadework. Link all four festivals together, and the committed cineaste can easily anticipate Asian entries selected later for Cannes, Venice, Berlin, Montreal, and elsewhere. Its secret? The SIFF is independently operated u

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Holloway, Ron. "Delhi 2005." Kinema: A Journal for Film and Audiovisual Media, November 20, 2005. http://dx.doi.org/10.15353/kinema.vi.1093.

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CINEFAN FESTIVAL OF ASIAN CINEMA IN DELHI 2005 Back in 1999, when the First Cinefan Festival of Asian Cinema was launched in New Delhi by publicist Aruna Vasudev, together with UNESCO friends and with the support of Delhi Chief Minister Sheila Dikshit, the program numbered only 27 Asian films. Seven years later, in partnership with entrepreneur Neville Tuli and his Indian auction house for popular art and Hollywood-Bollywood memorabilia, the re-christened 7th Ocean's Cinefan Festival of Asian Cinema (15-24 July 2005) could offer its public of feast of 121 Asian films from 35 countries. The fil

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40

Pratley, Gerald. "The Irresistible Rise of Asian Cinema 1." Kinema: A Journal for Film and Audiovisual Media, April 10, 1994. http://dx.doi.org/10.15353/kinema.vi.754.

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PRODUCTION ACTIVITY It was not so many years ago it seems when speaking of motion pictures from Asia meant Japanese films as represented by Akira Kurosawa and films from India made by Satyajit Ray. But suddenly time passes and now we are impressed and immersed in the flow of films from Hong Kong, Taiwan, China, South Korea, the Philippines, with Japan a less significant player, and India and Pakistan more prolific than ever in making entertainment for the mass audience. No one has given it a name or described it as "New Wave," it is simply Asian Cinema -- the most exciting development in filmm

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41

"The Cinema of Japan and Korea. Ed. Justin Bowyer. London & New York: Wallflower Press (24 Frames), 2004. xiii + 258 pp. 50 (hardback); 18.99 (paperback). ISBN 1-904764-12-6/11-8." Forum for Modern Language Studies 42, no. 4 (October 1, 2006): 461. http://dx.doi.org/10.1093/fmls/cql083.

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42

Meakins, Felicity, and Kate Douglas. "Self." M/C Journal 5, no. 5 (October 1, 2002). http://dx.doi.org/10.5204/mcj.1979.

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Me? "I" am everywhere. The 'self' permeates contemporary culture. Through capitalist individualism and conservative politics, 'self' must be considered first above the needs of the group - "looking after no. 1". In therapeutic, religious and consumerist discourses of self-improvement, self-help or self-actualisation, 'self' is obscured; an entity which needs to be sought and found, changed or accommodated, an entity which one needs to become "in touch with". Within these permutations "self" carries the assumption of its own existence, as either a stable, unchanging entity or as a contextually

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43

Rayman, Jennifer. "The Politics and Practice of Voice: Representing American Sign Language on the Screen in Two Recent Television Crime Dramas." M/C Journal 13, no. 3 (June 30, 2010). http://dx.doi.org/10.5204/mcj.273.

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Introduction In this paper, I examine the practices of representing Deaf ‘voices’’ to hearing audiences in two recent US television crime dramas. More literally I look at how American Sign Language is framed and made visible on the screen through various production decisions. Drawing examples from an episode of CSI: New York that aired in December 2006 and an episode of Law and Order: Criminal Intent that aired in April 2007, I examine how the practices of filming Deaf people and the use of American Sign Language intersect with the production of a Deaf ‘voice’ on the screen. The problem of rep

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Hjorth, Larissa, and Olivia Khoo. "Collect Calls." M/C Journal 10, no. 1 (March 1, 2007). http://dx.doi.org/10.5204/mcj.2586.

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   Synonymous with globalism, the mobile phone has become an integral part of contemporary everyday life. As a global medium, the mobile phone is a compelling phenomenon that demonstrates the importance of the local in shaping and adapting the technology. The adaptation and usage of the mobile phone can be read on two levels simultaneously – the micro, individual level and the macro, socio-cultural level. Symbolic of the pervasiveness and ubiquity of global ICTs (Information and Communication Technologies) in the everyday, the mobile phone demonstrates that the experiences of

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45

Burns, Alex. "Select Issues with New Media Theories of Citizen Journalism." M/C Journal 10, no. 6 (April 1, 2008). http://dx.doi.org/10.5204/mcj.2723.

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   “Journalists have to begin a new type of journalism, sometimes being the guide on the side of the civic conversation as well as the filter and gatekeeper.” (Kolodzy 218) “In many respects, citizen journalism is simply public journalism removed from the journalism profession.” (Barlow 181) 1. Citizen Journalism — The Latest Innovation? New Media theorists such as Dan Gillmor, Henry Jenkins, Jay Rosen and Jeff Howe have recently touted Citizen Journalism (CJ) as the latest innovation in 21st century journalism. “Participatory journalism” and “user-driven journalism” are othe

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46

Burns, Alex. "Select Issues with New Media Theories of Citizen Journalism." M/C Journal 11, no. 1 (June 1, 2008). http://dx.doi.org/10.5204/mcj.30.

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“Journalists have to begin a new type of journalism, sometimes being the guide on the side of the civic conversation as well as the filter and gatekeeper.” (Kolodzy 218) “In many respects, citizen journalism is simply public journalism removed from the journalism profession.” (Barlow 181) 1. Citizen Journalism — The Latest Innovation? New Media theorists such as Dan Gillmor, Henry Jenkins, Jay Rosen and Jeff Howe have recently touted Citizen Journalism (CJ) as the latest innovation in 21st century journalism. “Participatory journalism” and “user-driven journalism” are other terms to describe C

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47

Nijhawan, Amita. "Mindy Calling: Size, Beauty, Race in The Mindy Project." M/C Journal 18, no. 3 (June 3, 2015). http://dx.doi.org/10.5204/mcj.938.

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When characters in the Fox Television sitcom The Mindy Project call Mindy Lahiri fat, Mindy sees it as a case of misidentification. She reminds the character that she is a “petite Asian woman,” that she has large, beautiful breasts, that she has nothing in common with fat people, and the terms “chubbster” and “BBW – Big Beautiful Woman” are offensive and do not apply to her. Mindy spends some of each episode on her love for food and more food, and her hatred of fitness regimes, while repeatedly falling for meticulously fit men. She dates, has a string of failed relationships, adventurous sexua

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48

Sears, Cornelia, and Jessica Johnston. "Wasted Whiteness: The Racial Politics of the Stoner Film." M/C Journal 13, no. 4 (August 19, 2010). http://dx.doi.org/10.5204/mcj.267.

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We take as our subject what many would deem a waste of good celluloid: the degraded cultural form of the stoner film. Stoner films plot the experiences of the wasted (those intoxicated on marijuana) as they exhibit wastefulness—excessiveness, improvidence, decay—on a number of fronts. Stoners waste time in constantly hunting for pot and in failing to pursue more productive activity whilst wasted. Stoners waste their minds, both literally, if we believe contested studies that indicate marijuana smoking kills brains cells, and figuratively, in rendering themselves cognitively impaired. Stoners w

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49

Foith, Michael. "Virtually Witness Augmentation Now: Video Games and the Future of Human Enhancement." M/C Journal 16, no. 6 (November 6, 2013). http://dx.doi.org/10.5204/mcj.729.

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Introduction Ever-enduring advancements in science and technology promise to offer solutions to problems or simply to make life a bit easier. However, not every advancement has only positive effects, but can also have undesired, negative ramifications. This article will take a closer look at Deus Ex: Human Revolution (DXHR), a dystopian video game which promises to put players in the position of deciding whether the science of human enhancement is a way to try to play God, or whether it enables us “to become the Gods we’ve always been striving to be” (Eidos Montreal, “Deus Ex: Human Revolution

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