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1
D'Aloia, Adriano. Neurofilmology of the Moving Image. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725255.
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A walk suspended in mid-air, a fall at breakneck speed towards a fatal impact with the ground, an upside-down flip into space, the drift of an astronaut in the void… Analysing a wide range of films, this book brings to light a series of recurrent aesthetic motifs through which contemporary cinema destabilizes and then restores the spectator’s sense of equilibrium. The ‘tensive motifs’ of acrobatics, fall, impact, overturning, and drift reflect our fears and dreams, and offer imaginary forms of transcendence of the limits of our human condition, along with an awareness of their insurmountable nature. Adopting the approach of ‘Neurofilmology’—an interdisciplinary method that puts filmology, perceptual psychology, philosophy of mind, and cognitive neuroscience into dialogue—, this book implements the paradigm of embodied cognition in a new ecological epistemology of the moving-image experience.
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Subjectivity: Filmic representation and the spectator's experience. Amsterdam: Amsterdam University Press, 2011.
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3
Moving viewers: American film and the spectator's experience. Berkeley: University of California Press, 2009.
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4
Mon, Ya-Feng. Film Production and Consumption in Contemporary Taiwan. NL Amsterdam: Amsterdam University Press, 2016. http://dx.doi.org/10.5117/9789089648884.
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This book uses the potent case study of contemporary Taiwanese queer romance films to address the question of how capitalism in Taiwan has privileged the film industry at the expense of the audience's freedom to choose and respond to culture on its own terms. Interweaving in-depth interviews with filmmakers, producers, marketers, and spectators, Ya-Fong Mon takes a biopolitical approach to the question, showing how the industry uses investments in techno-science, ancillary marketing, and media convergence to seduce and control the sensory experience of the audience-yet that control only extends so far: volatility remains a key component of the film-going experience.
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Franco, Susanne, and Gabriella Giannachi. Moving Spaces Enacting Dance, Performance, and the Digital in the Museum. Venice: Fondazione Università Ca’ Foscari, 2021. http://dx.doi.org/10.30687/978-88-6969-534-6.
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This collection of essays investigates some of the theories and concepts related to the burgeoning presence of dance and performance in the museum. This surge has led to significant revisions of the roles and functions that museums currently play in society. The authors provide key analyses on why and how museums are changing by looking into participatory practices and decolonisation processes, the shifting relationship with the visitor/spectator, the introduction of digital practices in collection making and museum curation, and the creation of increasingly complex documentation practices. The tasks designed by artists who are involved in the European project Dancing Museums. The Democracy of Beings (2018-21) respond to the essays by suggesting a series of body-mind practices that readers could perform between the various chapters to experience how theory may affect their bodies.
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Welton, Martin. The imitation of emotion, or the emotion of imitation: Is emotion an enlivening factor in the actor's performance, contributing to the experience of "presence" on the part of the spectator? Birmingham: University of Birmingham, 1998.
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7
Fox, Alistair. Parental Abandonment and the Trauma of Loss: Boy (Taika Waititi, 2010). Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474429443.003.0015.
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This chapter examines Taika Waititi’s hit film Boy as evidence of a shift in Māori filmmaking away from the ideals of the “Fourth Cinema” of the 1980s – that is, a purely indigenous type of representation in terms of content and form – to a new kind that is based on an acceptance of cultural hybridity and an awareness of, and receptivity to, global youth culture. In terms of the coming-of-age experience depicted in the film, the discussion links it to that which is shown in Tamahori’s Once Were Warriors, but identifies strategies Waititi adopts to palliate the representation by overlaying it with a comedic approach so as to make the spectator’s experience of the trauma to which the characters are responding more bearable.
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Gallese, Vittorio, and Michele Guerra. The Empathic Screen. Translated by Frances Anderson. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198793533.001.0001.
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Why do people go to the movies? What does it mean to watch a movie? To what extent does our perception of the fictional nature of movies differ from our daily perception of the real world? The authors, a neuroscientist and a film theorist, propose a new multidisciplinary approach to images and film that can provide answers to these questions. According to the authors, film art, based on the interaction between spectators and the world on the screen, and often described in terms of immersion, impressions of reality, simulation, and involvement of the spectator’s body in the fictitious world he inhabits, can be reconsidered from a neuroscientific perspective, which examines the brain and its close relationship to the body. They propose a new model of perception—embodied simulation—elaborated on the basis of neuroscientific investigation, to demonstrate the role played by sensorimotor and affect-related brain circuits in cognition and film experience. Scenes from famous films, like Notorious, The Shining, Full Metal Jacket, Persona, The Silence of the Lambs, and Toy Story are described and analyzed according to this multidisciplinary approach, and used as case studies to discuss the embodied simulation model. The aim is to shed new light on the multiple resonance mechanisms that constitute one of the great secrets of cinematographic art, and to reflect on the power of moving images, which increasingly are part of our everyday life.
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Chateau, Dominique. Subjectivity. Filmic Representation and the Spectator's Experience. Amsterdam University Press, 2011.
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10
Plantinga, Carl. Moving Viewers: American Film and the Spectator's Experience. University of California Press, 2009.
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Plantinga, Carl. Moving Viewers: American Film and the Spectator's Experience. University of California Press, 2009.
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12
Parfitt-Brown, Clare. An Australian in Paris. Edited by Melissa Blanco Borelli. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199897827.013.005.
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Reviewers of Baz Luhrmann’sMoulin Rouge!(2001) often claimed to be bombarded, overloaded, or pathologically infected by the film’s rapid-fire imagery and eclectic cultural references. This chapter explores these visceral experiences of spectatorship, focusing on the film’s dance sequences. It argues that in these sequences, choreography and digital technology (including computer-generated imagery and editing) combine to allow spectators to physically experience on-screen bodies that are historically and culturally complex, distant, and “other.” Alison Landsberg’s notion of “prosthetic memory” (2004) suggests that films can physically connect spectators with pasts and memories they have not directly experienced. This chapter argues thatMoulin Rouge!achieves this physical connection by tapping into, and updating, a bohemian tradition of cross-cultural and transhistorical self-performance.
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Aebischer, Pascale. Technology and the Ethics of Spectatorship. Edited by James C. Bulman. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199687169.013.4.
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This chapter revisits debates regarding the use of technology to enhance or remediate performances in the light of Emmanuel Levinas’s understanding of the ethical encounter as a face-to-face encounter between a subject and her/his other. Building on these debates and Robert Weimann’s distinction between locus and platea, it suggests that performance theory’s emphasis on the physical co-presence of spectator and performer undervalues the experience of the spectator. Using three productions that use digital media as examples, the chapter demonstrates how online live streaming (in Cheek by Jowl’s Measure for Measure), digital hologram projection (in the McGuires’ Ophelia’s Ghost), and the use of an online stage (in the RSC’s collaboration with Google+ on #dream40) each harness the affordances of digital media to create conceptual spaces in which spectators can experience ethical encounters. Digital media thus open up distinct ways of experiencing dilemmas explored by Shakespeare’s plays.
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Schlapbach, Karin. Epilogue: Dance as Experience. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807728.003.0008.
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The epilogue synthesizes the insights gained from the preceding chapters. The observation that non-representational dances trigger interpretations in the internal audiences highlights at once the capability of dance to go beyond representation and the need to find meaning in it. Just as the dancers are affected by the physical reality of their performance, so the spectators too are affected by the physical presence of the dancers. Dance is performative and dynamic, and its way to cognition and action is experience. Dance reconciles opposites by encapsulating vitality and disruption, rational patterns and sensory experience, presence and transience, active and passive. The mimesis of dance interacts in many ways with the pragmatic contexts of its performance, making it a powerful cultural force.
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Pressman, Corey Scott. From participants to spectators : kirtan and religious experience at a Hare Krishna community. 1994.
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16
Inventing The Spectator: Subjectivity and the Theatrical Experience in Early Modern France. Oxford University Press, 2014.
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17
The perfect spectator: The experience of the art work and reception aesthetics. Valiz/Vis-A-VIS, 2017.
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18
Wagner-Pacifici, Robin. From Moral Sentiments to Civic Engagement: Sociological Analysis as Responsible Spectatorship. Edited by Jeffrey C. Alexander, Ronald N. Jacobs, and Philip Smith. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780195377767.013.7.
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This article proposes an entirely different understanding of the goals of cultural sociology, arguing that the subject position of the “spectator” should replace that of the “social scientist.” It contends that cultural sociology should aspire for fidelity—to moods and experiences, to locations and dramas, and to the truth of experience—and that this fidelity can be achieved through witnessing. In order to build the case for a new kind of cultural sociology, the article cites the works of Adam Smith, and especially his theory of social morality founded on the figure of the “impartial spectator.” It also examines four initial problems, including the problem of the alleged distinction between social action and spectatorship and the problem of identifying the appropriate “spectacle.” It concludes by highlighting some important lessons that need to be taken into account so that cultural sociology will continue to flourish.
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White, Bretton. Staging Discomfort. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9781683401544.001.0001.
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Staging Discomfort examines how queer bodies are theatrically represented on the Cuban stage in order to re-evaluate the role of categorization as one of the state’s primary revolutionary tools. These performances concentrate on an aesthetics of fluidity, and thus upset traditional understandings of performer and spectator, and what constitutes the ideal Cuban citizenry. New affective modes are produced when performing bodies highlight—often in uncomfortably intimate, grotesque, or raw ways—the unavoidability of spectators’ bodies, and their capacity for queerness. Here the imagining of new continuities and subjectivities can lead to a reconfiguration of forms of Cuban citizenship. The affective responses from the closeness experienced in the performances in Staging Discomfort are challenges to the Cuban state’s self-designated role as primary provider for the needs of its citizens’ bodies. Through the lens of queer theory, the manuscript explores the body’s centrality to the state’s deployment of fear to successfully marginalize gay life, which this group of works seeks to defuse through an articulation of intimacies, shame, the death drive, cruising, and failure. These affective experiences shape Cuban subjectivities that emerge out of queerness, but whose focus on inclusivity necessarily involves all Cubans. Several of the central questions that guide Staging Discomfort are: How is Cuban theater agile in its critiques considering the state’s limitations on expression? How do queer performances allow for new understandings about the effects of the state’s failing socialist utopian contract with its citizens? And, can Cuban bodies that come together in queer ways re-imagine Cuban citizenship?
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Cooper, Sarah. Film and the Imagined Image. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474452786.001.0001.
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Film and the Imagined Image explores the extraordinary ways in which film can stimulate and direct the image-making capacity of the imagination. From documentary to art house cinema, and from an abundance of onscreen images to their complete absence, films that experiment variously with narration, voice-over, and soundscapes do not only engage the thoughts and senses of spectators in a perceptually rich experience. They also make an appeal to visualise more than is visible on screen and they provide instruction on how to do so as spectators think and feel, listen and view. Bringing together philosophy, film theory, literary scholarship, and cognitive psychology with an international range of films from beyond the mainstream, Sarah Cooper charts the key processes that serve the imagining of images in the light of the mind. Through its navigation of a labile and vivid mental terrain, this innovative work makes a profound contribution to the study of spectatorship.
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Berliner, Todd. The Hollywood Aesthetic. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0001.
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Chapter 1 explains Hollywood’s general principles for creating aesthetic pleasure for mass audiences. The chapter introduces the book’s two main theses: (1) Hollywood cinema targets an area, between boredom and confusion, that is optimally pleasing for mass audiences. It seeks to offer enough cognitive challenge to sustain aesthetic interest but not so much that it would jeopardize a film’s hedonic value or cause average spectators to give up the search for understanding. (2) Many of the Hollywood films that offer exhilarating aesthetic experiences beyond a single encounter and over extended periods operate near the boundaries of classicism, veering into areas of novelty and complexity that more typical Hollywood films avoid; however, they do so without sacrificing a mass audience’s ability to cope with the challenge. Such films take risks, and exhilarated pleasure results when they seem on the verge of overburdening or displeasing spectators in some bold and extraordinary way.
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Plantinga, Carl. Screen Stories. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190867133.001.0001.
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Screen Stories: Emotion and the Ethics of Engagement provides an account of the rhetorical and cultural power of storytelling on screens and develops an ethics of engagement that provides tools for the critic to respond to that power. Screen Stories first provides a theory of the persuasive influence of such “screen stories,” paying particular attention to the role of emotion. The book argues that the emotions a screen story elicits are key to its potential influence, functioning as an incentive for spectators to “cooperate,” helping to facilitate transfer of beliefs from text to world, and spurring the cultivation of habits of thought and response. Screen Stories then argues for an ethics of engagement that considers the particular sorts of experiences screen stories offer and is open to their benefits as well as their drawbacks. In doing so, an ethics of engagement rejects what the book calls “estrangement theory,” which in its extreme forms focuses almost solely on critique, condemns mainstream films and television, and distrusts the role of emotion and immersion in the experience of screen stories. The book goes on to discuss the sort of ethical experience screen stories offer, examining the implications of character engagement, narrative closure (as an element of structure), and narrative scenarios and the characteristic emotions they elicit. Plantinga argues that an ethics of engagement is more relevant to the viewing of screen stories today, and thus has the potential to revive and enliven the discussion of ethics of storytelling on screens.
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Berliner, Todd. Bursting into Song in the Hollywood Musical. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190658748.003.0011.
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Chapter 11 examines the aesthetic value of novelty in a genre’s evolution by tracing the history of the convention that characters in Hollywood musicals spontaneously burst into song without realistic motivation. The convention emerged in 1929 and largely vanished by the end of the 1950s. The chapter studies how studio-era filmmakers developed novel conventions that exploited the aesthetic possibilities of song in cinema. The eventual loss of the convention created new constraints on the uses of song, but it also enabled new aesthetic possibilities. Post-studio-era filmmakers transformed the convention, exposed it, and reclaimed it in ways that added novelty to spectators’ aesthetic experience.
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Plantinga, Carl. Narrative Structure. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190867133.003.0012.
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After a discussion of the most important thought about narrative closure and ethics, this chapter goes on to explore one sort of ending—the frame shifter—that was a feature of many episodes of the television series The Twilight Zone. Ethical critics have tended to assume that closed endings are nearly always ethically inferior to open endings. The chapter examines some of the chief arguments made for this claim, rejecting them as totalizing. The chapter argues that some kinds of closed endings, such as the “frame shifter,” have the capacity to encourage the kind of critical thinking favored by many critics, one that allow spectators to experience rapid perspective shifts that can encourage perspective-taking.
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Radner, Hilary, and Alistair Fox. Cinema and the Body: The Ghost in the Theater. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0004.
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This chapter focuses its attention on why, in returning in the twenty-first century to a preoccupation with classical cinema, Bellour argued that hypnosis rather than the dream (as in the view of Christian Metz) offers the most accurate metaphor for understanding the cinematic viewer’s relationship to screen narrative. Like an animal, Bellour explains, the spectator is caught by, and subject to, somatic responses that are basically emotional in nature (hence not under his or her rational control) and generated from outside him or her, but which he or she experiences as autogenic in origin as vitality affects, borrowing from Daniel Stern. The chapter explores how, in Bellour’s view, the physicality of these responses highlights the tenuous dividing line between that which is human and that which is animal, within a worldview that dispenses with “the soul” under modernity. Finally, the chapter examines Bellour’s argument that the images of animals that appear in films “mirror” the condition of the spectator in the theater.
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Plantinga, Carl. Immersion and Emotion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190867133.003.0007.
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This chapter discusses both immersion and emotion in the context of an ethics of engagement. I defend both against criticisms leveled by estrangement theory, which tends to be suspicious against the effects of each. The purpose is not merely defense, however, but to make positive claims about how immersion and emotion function in the viewing of screen stories, and beyond that to suggest how an ethics of engagement might approach them. The chapter suggests that immersion in itself is not necessarily harmful, and the immersive experience is sometimes coextensive with the sort of critical spectator experience favored by estrangement theorists. With regard to emotion, I argue that the blanket dismissal of emotion by estrangement theorists is wholly counterproductive. Instead, the ethical critic ought to understand what emotions are and how they function in order to distinguish their ethical effects.
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Redmon, Allen H., ed. Next Generation Adaptation. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496832603.001.0001.
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Next Generation Adaptation: Spectatorship and Process explores the ways in which cross-cultural adaptations often stage a collusion between competing cultural capital. The collusion conceals and reveals commonalities and differences between these cultural traditions before giving way to the differences that can distinguish one textual expression from another, just as it ultimately distinguishes one set of readers from another. An adaptation of any sort, but especially those that cross accepted stereotypes, or geographic or political boundaries, provide spectators space to negotiate attitudes and ideas that might otherwise lay latent in the text. Spectators are left to parse through each, often with special attention to the differences that exist between two expressions. Each new set of readers, each generation, distinguishes itself from an earlier set of readers, even as they exist along the same family tree. Given enough time, some new shared organizing strategy emerges until a new encounter or new expression of a text restarts the adaptational process every adaptation can trigger. Taken together, the chapters in Next Generation Adaptation each argue that the texts they consider foreground the kinds of space that exists between texts, between political commitments, between ethical obligations that every filmic text can open when the text is experienced as an adaptation. The chapters esteem the expansive dialogue adaptations accelerate when they realize their capacity to bring together two or more texts, two or more peoples, two or more ideologies without allowing one expression to erase another.
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Ahlgren, Angela K. Butch Bodies, Big Drums. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199374014.003.0005.
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The chapter contends that performances by the all-women’s taiko group Jodaiko highlight the intersectional nature of identity for the queer Asian, Asian American, and Asian Canadian women who make up the group. Jodaiko performs annually at two events in Vancouver, BC: the Powell Street Festival and a queer performance series connected to LGBTQ Pride. This chapter argues that Jodaiko queers North American taiko and demonstrates this in three ways: through an exploration of group members’ everyday gender performances of female masculinity; by analyzing the group’s “homo-geneity,” or uniformly Asian American queerness in a performance of Tiffany Tamaribuchi’s song “Kokorozashi,”; and through a close performance analysis of Tamaribuchi’s queer re-working of traditional Japanese masculinity in her solo performances on the o-daiko. Such readings are enabled by the erotic valences of taiko, which spectators experience kinesthetically when they watch live taiko performances.
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Hines, James R. Skating for an Audience. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039065.003.0008.
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This chapter discusses the evolution of show skating. Show skating is neither new nor unique. Its roots can be traced back farther than competitive skating. In Victorian England, gentlemen amateurs tell of interested observers who watched in amazement as they traced their figures, and they admit that their egos swelled with pride when spectators watched them go through their paces. That was amateur skating at its best, albeit with an element of showing off to those less skilled. Jackson Haines, however, skated professionally in the United States and Canada before moving permanently to Europe to continue his career. Thus, exhibition types of skating, from individuals showing off on local ponds to itinerant professionals were a part of the skating scene in the mid-nineteenth century. While the success of Haines' performances in Europe is legion, skating shows were popular in America as well. The importance of carnivals to the advancement of the sport cannot be overemphasized because they provided performance experience to skaters at all levels.
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Tarter, Michele Lise, and Catie Gill, eds. New Critical Studies on Early Quaker Women, 1650-1800. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198814221.001.0001.
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There has never been an interdisciplinary collection of essays that focuses specifically on the women of the Quaker movement—their experiences and their voices, their bodies and their texts. This book, an essential addition to the studies of Quakerism, religion, and gender, offers groundbreaking archival research and analysis about women Friends that ranges from the movement’s British origins to early American revolutions. The fourteen contributors illuminate the issues and challenges early Quaker women faced, addressing such varied topics as the feminization of religion; dissent and identity; transatlantic scribal and print culture; abolitionism and race; and the perception of women Friends by anti-Quaker spectators. Divided into three sections entitled ‘Revolutions’, ‘Disruptions’, and ‘Networks’, this collection explores the subversive and dynamic ways that Quaker women resisted persecution, asserted autonomy, and forged barriers through creative networks. It enhances and expands the position of Quaker women in the early transatlantic world, accentuating their difference from other religious orthodoxies—across time, across cultures, and across continents.
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Balan, Canan. Imagining Women at the Movies. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039683.003.0005.
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This chapter examines early film culture in Istanbul by focusing on how Turkish male writers constructed cinema-going Turkish women in early twentieth-century and postwar Istanbul. The goal is to analyze gendered concerns about spectatorship emerging in the patriarchal imagination of that time. In order to understand the reception of early cinema in Turkey as well as the cultural status of Turkish cinema among the Ottoman/Turkish intelligentsia and the gender politics surrounding it, the chapter looks at novels, poems, and newspaper reviews. The discussion begins with an overview of film market in post-World-War I Istanbul and cinema-going as a public experience in the Ottoman capital. An analysis of female spectators depicted by male authors reveals a changing culture of spectatorship. This occurred concomitantly with the sociopolitical transition from the declining Ottoman Empire to the rise of the Turkish nation-state. The chapter argues that the change in gender politics during this period triggered the new anxieties that creative writers project onto the activity of filmgoing, and particularly that by cinema-going women.
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Ezell, Margaret J. M. London Theatricals: Italian Opera and an Evening at the Theatre. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780191849572.003.0021.
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The London theatres in the first decade of the eighteenth century experienced changes in the types of entertainment offered and in their staging. Many of the stars of the previous decades including Thomas Betterton, Elizabeth Barry, and Anne Bracegirdle retired from the stage. New productions emphasized music and dancing; so popular was musical drama that a public competition was held to create the music for Congreve’s libretto The Judgment of Paris. Foreign singers, especially from Italy, were often paid higher salaries than English actors, leading to tensions, and while operas sung in Italian were very popular with audiences, critics such as Joseph Addison writing in the Spectator deplored the use of spectacle and music over script and moral. One of the most popular new playwrights of the decade was Susanna Centlivre.
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Johnston, Nessa. Sounding Decay in the Digital Age. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0012.
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Bill Morrison’s Decasia (2012) and Peter Delpeut’s Lyrical Nitrate (1991) are collage works made up of decayed silent-era film fragments. The films approach sound in contrasting ways: Lyrical Nitrate uses old 78 rpm recordings of operatic music as musical accompaniment to its decayed images, whereas Decasia uses a specially commissioned score and exists not only in DVD format but also as an elaborately staged performance piece. This chapter is an investigation of the role of the soundtrack within both films’ repurposing strategy, comparing and contrasting their sonic approaches, using a Chion-esque idea of “audio-vision” in an effort to understand their aesthetic workings. Despite the material heterogeneity of film sound and film image, the spectator takes in the experience as a synthesis. Yet beyond representational strategies the materiality of sounds and images in the pre- and postdigital ages is arguably the subject of exploration unifying this comparative analysis.
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Radner, Hilary, and Alistair Fox. An Elegy for Cinema1. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0005.
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This chapter describes how Raymond Bellour in the twenty-first century enters into the on-going debates about the end of cinema that commenced in France in the late 1980s. The chapter underlines how he focuses largely on the changing shape and nature of the dispositif (or viewing situation, including the assumptions that a spectator brings to the viewing experience) in response to new technologies, with an emphasis on moving-image installation art shown in the museum or gallery. Whereas some scholars, such as Francesco Casetti, among others, have claimed that digital technologies and the proliferation of diverse viewing platforms mark a further development, a continuation of what was once cinema (and perhaps even the nineteenth century novel, the photo-roman, the comic book. etc.), Bellour sees these changes as constituting a fundamental break, an ontological shift in the nature of the medium. For Bellour, the dispositif – the apparatus, or physical setting and its technological and psychic potentiality for interaction, as well as the codes that inform this interaction, within which the viewer confronts and makes meaning out of a narrative, visual or otherwise – is fundamental to the experience of cinema and the ideas that it generates. This section offers an exploration Bellour’s understanding of these crucial changes, the implications of which animate discussions about contemporary media across the disciplines.
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Schlapbach, Karin. The Anatomy of Dance Discourse. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198807728.001.0001.
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This book makes an original contribution to the newly thriving field of ancient Greek and Roman performance and dance studies. It offers a better grasp of ancient perceptions and conceptualizations of dance through the lens of literary texts. It gives attention not only to the highly encoded genre of pantomime, which dominates the stages in the Roman Empire, but also to acrobatic, non-representational dances. It is distinctive in its juxtaposition of ancient theorizations of dance with literary depictions of dance scenes. Part I explores the contact zones of ancient dance discourse with other areas of cultural expression, especially language and poetry, rhetoric and art, and philosophy and religion. Part II discusses ekphraseis of dance performances in prose and poetry. The main bulk of the book focuses roughly on the second century CE (discussing Plutarch, Lucian of Samosata, Athenaeus, the apocryphal Acts of John, Longus, and Apuleius), with excursions to Xenophon and Nonnus. Dance is performative and dynamic, and its way to cognition and action is physical experience. This book argues that dance was understood as a practice in which human beings, whether as dancers or spectators, are confronted with the irreducible reality of their own physical existence, which is constantly changing.
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Miah, Andy. Sport 2.0. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035477.001.0001.
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Digital technology is changing everything about modern sports. Athletes and coaches rely on digital data to monitor and enhance performance. Officials use tracking systems to augment their judgment in what is an increasingly superhuman field of play. Spectators tune in to live sports through social media, or even through virtual reality. Audiences now act as citizen journalists whose collective shared data expands the places in which we consume sports news. Sport 2.0 examines the convergence of sports and digital cultures, examining not only how it affects our participation in sport but also how it changes our experience of life online. This convergence redefines how we think of about our bodies, the social function of sports, and it transforms the populations of people who are playing. Sport 2.0 describes a world in which the rise of competitive computer game playing—e-sports—challenges and invigorates the social mandate of both sports and digital culture. It also examines media change at the Olympic Games, as an exemplar of digital innovation in sports. Furthermore, the book offers a detailed look at the social media footprint of the 2012 London Games, discussing how organizers, sponsors, media, and activists responded to the world’s largest media event.