09/28/21 Digital Cinema (FLM020X369A) | University of Roehampton
Digital Cinema (FLM020X369A) View Online
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Brown, W. (no date b) ‘The Pre-Narrative Monstrosity of Images: how images demand narrative | Brown | Image & Narrative.’
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Brown, W. and Fleming, D. H. (no date) ‘Deterritorialisation and Schizoanalysis in David Fincher’s Fight Club.’
Brown, W. and Holtmeier, M. (no date) ‘Machinima: Cinema in a Minor or a Multitudinous Key?’, in Understanding machinima: essays on filmmaking in virtual worlds, pp. 3–21.
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Bukatman, S. (1993b) Terminal identity : the virtual subject in postmodern science fiction. Durham, NC: Duke University Press.
Bukatman, S. (2003) ‘ ’The Artificial Infinite: On Special Effects and the Sublime’ and “The Ultimate Trip: Special Effects and Kaleidoscopic Perception’”’, in Matters of gravity: special effects and supermen in the 20th century. Durham, N.C.: Duke University Press, pp. 81–130.
Burucúa, C., Hart, S. and Wood, M. J. (2008) ‘“New” Latin American Cinema and Authorship: Old Wine in New Bottles?’, Hispanic Research Journal, 9(2), pp. 147–163. doi: 10.1179/174582008X272842.
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Chan, A. (no date) ‘The French Democracy.’
Cherchi Usai, Paolo (2001) The death of cinema: history, cultural memory and the digital dark age. London: British Film Institute.
Cornblatt, M. (2011) ‘Censorship as Criticism: Performance Art and Fair Use in Virtual Territory’, Journal of Visual Culture, 10(1), pp. 74–79. doi: 10.1177/1470412910391565.
Coyle, R. (no date) ‘ Point of audition: Sound and music in Cloverfield’, Science Fiction Film
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and Television, 3(2).
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Dan North (no date) Performing Illusions. Wallflower Press.
Darley, A. (2000a) Visual Digital Culture. London/New York: Routledge.
Darley, A. (2000b) Visual Digital Culture. London/New York: Routledge.
Darley, A. (2000c) Visual Digital Culture. London/New York: Routledge.
Darley, A. (2000d) Visual Digital Culture. London/New York: Routledge.
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Dellario, F. R. (2011) ‘The Future of Machinima as a Professional Animation Resource and its Growth as Real-Time Animation in Virtual Worlds’, Journal of Visual Culture, 10(1), pp. 89–92. doi: 10.1177/1470412910391572.
Diltz, J. J. (2011) ‘Digital Voices’, Journal of Visual Culture, 10(1), pp. 55–58. doi: 10.1177/1470412910391558.
Doane, M. A. (2002a) The emergence of cinematic time : modernity, contingency, the archive. Cambridge, Mass.: Harvard University Press.
Doane, M. A. (2002b) The emergence of cinematic time : modernity, contingency, the archive. Cambridge, Mass.: Harvard University Press.
Downing, L. M. (2004) ‘French Cinema’s New “Sexual Revolution”: Postmodern Porn and Troubled Genre’, French Cultural Studies, 15(3), pp. 265–280. doi: 10.1177/009715580401500305.
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Elsaesser, T. and Hoffmann, K. (1998) Cinema futures : Cain, Abel or cable? : the screen arts in the digital age. Amsterdam: Amsterdam University Press.
Enticknap, L. (2009) ‘Electronic Enlightenment or the Digital Dark Age? Anticipating Film in an Age Without Film’, Quarterly Review of Film and Video, 26(5), pp. 415–424. doi: 10.1080/10509200802165267.
Everett, W. (2005) ‘Fractal films and the architecture of complexity’, Studies in European Cinema, 2(3), pp. 159–171. doi: 10.1386/seci.2.3.159/1.
Existenz [DVD] [1999] (no date).
Falkenstein, J. (2011) ‘Machinima as a Viable Commercial Medium’, Journal of Visual Culture, 10(1), pp. 86–88. doi: 10.1177/1470412910391570.
Fincher, David, Pitt, Brad and Bonham-Carter, Helena (2004) ‘Fight club.’ London: Twentieth Century Fox Home Entertainment.
Flanagan, M. (1999) ‘ Mobile Identities, Digital Stars, and Post-Cinematic Selves - Wide Angle 21:1’, Wide Angle, 21(1), pp. 77–93.
Fosk, K. (2011) ‘Machinima is Growing Up’, Journal of Visual Culture, 10(1), pp. 25–30. doi: 10.1177/1470412910391551.
Galloway, A. (2006) Gaming : Essays on Algorithmic Culture. Minneapolis: University of Minnesota Press.
Gaudreault, A. (no date) ‘Narration and Monstration in the Cinema’, Journal of Film and Video, 39(2).
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Gayeton, D. (2011) ‘Molotov Alva’s Further Adventures: A Conversation Which Could've Happened (But Never Did)’, Journal of Visual Culture, 10(1), pp. 93–99. doi: 10.1177/1470412910391574.
Gleick, J. (1997) Chaos: Making a New Science. London: Minerva.
Godard, J.-L. (no date) ‘Film Socialisme [DVD].’ Available at: http://www.amazon.co.uk/Film-Socialisme-DVD-Jean-Paul-Battagia/dp/B00546FV5Y/ref=sr_ 1_1?ie=UTF8&qid=1378817304&sr=8-1&keywords=godard+film+socialisme.
Govil, N. (2005) ‘Hollywood’s Effects, Bollywood’s FX’, in Contracting out Hollywood: runaway productions and foreign location shooting. Lanham, MD: Rowman & Littlefield Pub, pp. 92–116.
Le Grice, M. (2001) Experimental cinema in the digital age. London: British Film Institute.
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Gubbins, M. (no date) Digital Disruption: Cinema Moves On-line [Paperback], Digital Revolution: Active Audiences and Fragmented Consumption. Edited by D. Iordanova and S. Cunningham. St Andrews Film Studies; 1st edition (3 Mar 2012).
Gunning, T. (2006) ‘The Cinema of Attraction[s]: Early Film, its Spectator and the Avant-Garde’, in Cinema of Attractions Reloaded. Amsterdam: Amsterdam University Press, pp. 381–388.
Hackleman, C. (2011) ‘Where Were You the Day Onyxia Died?’, Journal of Visual Culture, 10(1), pp. 38–41. doi: 10.1177/1470412910391553.
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Hadjioannou, Markos (2012) From light to byte : toward an ethics of digital cinema. Minneapolis: University of Minnesota Press.
Hadjioannou, Markos (no date a) From light to byte: toward an ethics of digital cinema.
Hadjioannou, Markos (no date b) From light to byte: toward an ethics of digital cinema.
Hadjioannou, Markos (no date c) From light to byte: toward an ethics of digital cinema.
Hancock, H. (2011) ‘Machinima: Limited, Ghettoized, and Spectacularly Promising’, Journal of Visual Culture, 10(1), pp. 31–37. doi: 10.1177/1470412910391552.
Hancock, H. (no date) ‘Ozymandias.’
Harries, D. (2002) ‘Watching the Internet’, in Harries, D. (ed.) The New Media Book. London: British Film Institute, pp. 171–182.
Harwood, T. (2011) ‘Towards a Manifesto for Machinima’, Journal of Visual Culture, 10(1), pp. 6–12. doi: 10.1177/1470412910391547.
Hayles, N. K. (1999) ‘The Condition of Virtuality’, in The Digital Dialectic : New Essays on New Media. Cambridge, Mass.: MIT Press, pp. 68–94.
Hayles, N. K. (2010) How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: University of Chicago Press.
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Hesemeier, S. (2006) ‘Streaming Video Theory’, Literary and Linguistic Computing, 21(Supplement 1), pp. 67–75. doi: 10.1093/llc/fql003.
Higgins, S. (no date) ‘3D in Depth: Coraline, Hugo and a Sustainable Aesthetic.’
InteractiveStory.net (no date).
Ito, M. (2011) ‘Machinima in a Fanvid Ecology’, Journal of Visual Culture, 10(1), pp. 51–54. doi: 10.1177/1470412910391557.
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Jean-Pierre Geuens (no date) ‘The Digital World Picture’, Film Quarterly, 55(4). doi: 10.1525/fq.2002.55.4.16.
Jenkins, H. (2002) ‘Interactive Audiences?’, in Harries, D. (ed.) The New Media Book. London: British Film Institute, pp. 157–170.
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Jia, Z. (no date) ‘Still Life [2006] [DVD].’ Available at: http://www.amazon.co.uk/Still-Life-DVD-Tao-Zhao/dp/B001A47GFM/ref=sr_1_1?ie=UTF8&qi d=1378817430&sr=8-1&keywords=still+life+jia+zhangke.
Johnson, S. (2006) Everything bad is good for you : how popular culture is making us smarter. London: Penguin.
Johnston, J. (no date) ‘Machinic Vision’, Critical Inquiry, 26(1).
Jones, R. (2011) ‘Does Machinima Really Democratize?’, Journal of Visual Culture, 10(1), pp. 59–65. doi: 10.1177/1470412910391559.
Kinder, M. (2002a) ‘Hot Spots, Avatars, and Narrative Fields Forever: Buñuel’s Legacy for New Digital Media and Interactive Database Narrative’, Film Quarterly, 55(4), pp. 2–15. doi: 10.1525/fq.2002.55.4.2.
Kinder, M. (2002b) ‘Narrative Equivocations between Movies and Games’, in The New Media Book. London: British Film Institute, pp. 119–132.
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King, G. and Krzywinska, T. (2006) Tomb Raiders and Space Invaders : Videogame Forms and Contexts. London: IB Tauris.
Kiraostami, A. (2002) ‘Ten.’
Kirschner, F. (2011) ‘Machinima’s Promise’, Journal of Visual Culture, 10(1), pp. 19–24. doi: 10.1177/1470412910391550.
Klinger, B. (2006) Beyond the Multiplex: Cinema, New Technologies, and the Home. Berkeley: University of California Press, pp. 17–53.
Kraus, K. (2011) ‘“A Counter-Friction to the Machine”: What Game Scholars, Librarians, and Archivists Can Learn from Machinima Makers about User Activism’, Journal of Visual Culture, 10(1), pp. 100–112. doi: 10.1177/1470412910391576.
Krzywinska, T. (2005) ‘The Enigma of the Real: The Qualifications for Real Sex in Contemporary Art Cinema’, in The spectacle of the real : from Hollywood to ‘reality’ TV and beyond. Bristol: Intellect, pp. 224–235. Available at: http://site.ebrary.com/lib/roehampton/Doc?id=10078134.
Lisa Purse (no date) Contemporary Action Cinema [Paperback]. Edinburgh University Press
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(24 April 2011).
Lowood, H. (2006) ‘High-performance play: The making of machinima’, Journal of Media Practice, 7(1), pp. 25–42. doi: 10.1386/jmpr.7.1.25/1.
Lowood, H. (2011a) ‘A “Different Technical Approach”? Introduction to the Special Issue on Machinima’, Journal of Visual Culture, 10(1), pp. 3–5. doi: 10.1177/1470412910391546.
Lowood, H. (2011b) ‘Perfect Capture: Three Takes on Replay, Machinima and the History of Virtual Worlds’, Journal of Visual Culture, 10(1), pp. 113–124. doi: 10.1177/1470412910391578.
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Manovich, L. (2000) ‘What is Digital Cinema?’, in Digital Dialectic : New Essays on New Media. Cambridge, Mass.: MIT Press, pp. 172–192.
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Menon, E. K. (2007) ‘Virtual realities, techno-aesthetics and metafictions of digital culture’, in The state of the real : aesthetics in the digital age. London: IB Tauris, pp. 151–161.
Methenitis, M. (2011) ‘Opportunity and Liability: The Two Sides of Machinima’, Journal of Visual Culture, 10(1), pp. 80–85. doi: 10.1177/1470412910391566.
Michele Pierson (2002) Special effects. New York: Columbia University Press.
Mitchell, W. J. (1992) The reconfigured eye : visual truth in the post-photographic era. Cambridge, Mass.: MIT Press, pp. 3–22.
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Mulvey, L. (2006a) Death 24x a second : stillness and the moving image. London: Reaktion.
Mulvey, L. (2006b) Death 24x a second : stillness and the moving image. London: Reaktion.
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Ng, J. (2007) ‘Virtual cinematography and the digital real: (dis)placing the moving image
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between reality and simulacra’, in Sutton, D., Brind, S., and McKenzie, R. (eds) The state of the real : aesthetics in the digital age. London: IB Tauris, pp. 172–180.
Nideffer, R. F. (2011) ‘Eight Questions (and Answers) about Machinima’, Journal of Visual Culture, 10(1), pp. 66–73. doi: 10.1177/1470412910391560.
Nitsche, M. (2011) ‘A Look Back at Machinima’s Potential’, Journal of Visual Culture, 10(1), pp. 13–18. doi: 10.1177/1470412910391549.
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Playdom Online Games (no date).
Poole, S. (2001) Trigger Happy. London: Fourth Estate.
Pope, T. (2005a) ‘Not Just Another Love Story Part 1.’
Pope, T. (2005b) ‘Not Just Another Love Story Part 2.’
Porush, D. (no date) ‘Prigogine, Chaos, and Contemporary Science Fiction’, Science Fiction Studies, 18(3).
Power, P. (2009) ‘Animated Expressions: Expressive Style in 3D Computer Graphic Narrative Animation’, Animation, 4(2), pp. 107–129. doi: 10.1177/1746847709104643.
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Prince, S. (no date b) ‘True Lies: Perceptual Realism, Digital Images, and Film Theory’, Film Quarterly, 49(3).
Prince, Stephen (2012a) Digital visual effects in cinema. New Brunswick, N.J: Rutgers University Press.
Prince, Stephen (2012b) Digital visual effects in cinema: (the seduction of reality). New Brunswick, N.J.: Rutgers University Press.
Purse, L. (2005) ‘The New Spatial Dynamics of the Bullet-Time Effect’, in The spectacle of the real : from Hollywood to ‘reality’ TV and beyond. Bristol: Intellect, pp. 151–160.
Purse, Lisa (2013a) Digital imaging in popular cinema. Edinburgh: Edinburgh University Press. Available at: http://lib.myilibrary.com?id=441828.
Purse, Lisa (2013b) Digital imaging in popular cinema. Edinburgh: Edinburgh University Press. Available at: http://lib.myilibrary.com?id=441828.
Purse, Lisa (2013c) Digital imaging in popular cinema. Edinburgh: Edinburgh University
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Press. Available at: http://lib.myilibrary.com?id=441828.
Purse, Lisa (2013d) Digital imaging in popular cinema. Edinburgh: Edinburgh University Press.
QUAKE LIVE Home (no date).
Ramon Lobato (no date) Shadow Economies of Cinema: Mapping Informal Film Distribution (Cultural Histories of Cinema) [Paperback]. British Film Institute (12 Mar 2012). Available at: http://www.amazon.co.uk/Shadow-Economies-Cinema-Distribution-Histories/dp/184457411 3/ref=sr_1_1?ie=UTF8&qid=1378816876&sr=8-1&keywords=shadow+economies+of+cin ema.
Reeves, M. (2008) ‘Cloverfield.’
Rosen, P. (2001) Change mummified : cinema, historicity, theory. Minneapolis: University of Minnesota Press.
Ross, M. (no date) ‘Spectacular Dimensions: 3D Dance Films.’
Ross, S. (no date) ‘Invitation to the Voyage: The Flight Sequence in Contemporary 3D Cinema.’
Rubio, K. (1999) ‘Troops.’
Rushton, R. (2007) ‘Absorption and theatricality in the cinema: some thoughts on narrative and spectacle’, Screen, 48(1), pp. 109–112. doi: 10.1093/screen/hjm006.
Savedoff, B. E. (no date) ‘Escaping Reality: Digital Imagery and the Resources of Photography’, The Journal of Aesthetics and Art Criticism, 55(2).
Sim, G. (2012a) ‘When and Where Is the Digital Revolution in Cinematography?’, Projections, 6(1), pp. 79–100. doi: 10.3167/proj.2012.060103.
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Sobchack, V. (2000a) Meta-morphing: visual transformation and the culture of quick-change. Minneapolis: University of Minnesota Press.
Sobchack, V. (2000b) Meta-morphing: visual transformation and the culture of quick-change. Minneapolis: University of Minnesota Press.
Stereoscopic Media | Research activity related to all forms of stereoscopic media (no date).
Stern, E. (2011) ‘Massively Multiplayer Machinima Mikusuto’, Journal of Visual Culture, 10(1), pp. 42–50. doi: 10.1177/1470412910391556.
Steven Shaviro (no date) Post Cinematic Affect [Paperback]. Zero Books (1 Dec 2010).
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Stewart, G. (2007) Framed Time : Toward a Postfilmic Cinema. Chicago: Chicago University Press, pp. 165–184.
Streaming: Movies, Media, and Instant Access: Amazon.co.uk: Wheeler W. Dixon: Books (no date). The University Press of Kentucky (30 April 2013). Available at: http://www.amazon.co.uk/Streaming-Movies-Media-Instant-Access/dp/0813142199/ref=sr_ 1_1?s=books&ie=UTF8&qid=1410854486&sr=1-1&keywords=wheeler+winston+dixon+st reaming.
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The Blair Witch Project (no date).
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Tino Balio (no date) Hollywood in the New Millennium (International Screen Industries) [Paperback]. British Film Institute (23 April 2013). Available at: http://www.amazon.co.uk/Hollywood-Millennium-International-Screen-Industries/dp/184457 380X/ref=sr_1_1?ie=UTF8&qid=1378816791&sr=8-1&keywords=tino+balio+new+millen nium.
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Tryon, C. (2013) On-demand culture: digital delivery and the future of movies. New Brunswick, N.J.: Rutgers University Press. Available at: http://lib.myilibrary.com?id=486972&entityid=https://dmz-shib-dg-01.dmz.roehampton.ac. uk/idp/shibboleth.
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