SCMS 2011 MEDIA CITIZENSHIP • Conference Program and Screening Synopses
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Moral Questions Concerning Story in Immersive Hypertext Narrative
Thoughts On Some Moral Questions Concerning Story In Immersive Hypertext Narrative Mark Bernstein1 1 Eastgate Systems, Inc, 134 Main Street, Watertown Massachusetts USA [email protected] Abstract. The moral dangers of fiction have always alarmed commentators, but immersive interaction gives rise to new qualms derived not from fiction’s indulgence of untruth nor in the sexual license of itinerant players, but that grow from immersion, from fictive immersive experiences that resist reflection. Keywords: Hypertext, Fiction, Storytelling, Narrative. 1 Twenty Years On The Holodeck Twenty years have elapsed since Janet Murray’s Hamlet On The Holodeck [1] argued that the future of new media lay in vividly immersive, encyclopedic and emotional interactive experi- ences rather than in the intertexual, allusive, lyrical and intellectual(ized) works that had epito- mized new media through the preceding decade [2]. Murray’s vision of immersive dialogic experience been enormously influential throughout new media. In these notes, I would like to call attention to a number of questions and sources of disquiet that arise in composing immersive works in which the reader intentionally and effectually acts to change the events that take place in the story1. These issues are not new but they have not been widely discussed, and drawing them together in this context may have some value. These are not hypothetical or invented questions. Most actually arose in the course of my writing a hypertext school story, Those Trojan Girls [6]. Others were familiar to me from edit- ing and publishing hypertext fictions over several decades. Reflective practice is an important source of insight, and its judicious use can prove invaluable [7]. -
A Wishy-Washy, Sort-Of-Feeling: Episodes in the History of the Wishy-Washy Aesthetic
Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-22-2014 12:00 AM A Wishy-Washy, Sort-of-Feeling: Episodes in the History of the Wishy-Washy Aesthetic Amy Gaizauskas The University of Western Ontario Supervisor Christine Sprengler The University of Western Ontario Graduate Program in Art History A thesis submitted in partial fulfillment of the equirr ements for the degree in Master of Arts © Amy Gaizauskas 2014 Follow this and additional works at: https://ir.lib.uwo.ca/etd Recommended Citation Gaizauskas, Amy, "A Wishy-Washy, Sort-of-Feeling: Episodes in the History of the Wishy-Washy Aesthetic" (2014). Electronic Thesis and Dissertation Repository. 2332. https://ir.lib.uwo.ca/etd/2332 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. A WISHY-WASHY, SORT-OF FEELING: EPISODES IN THE HISTORY OF THE WISHY-WASHY AESTHETIC Thesis Format: Monograph by Amy Gaizauskas Graduate Program in Art History A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art The School of Graduate and Postdoctoral Studies The University of Western Ontario London, Ontario, Canada © Amy Gaizauskas 2014 Abstract Following Sianne Ngai’s Our Aesthetic Categories (2012), this thesis studies the wishy- washy as an aesthetic category. Consisting of three art world and visual culture case studies, this thesis reveals the surprising strength that lies behind the wishy-washy’s weak veneer. -
Widescreen Weekend 2007 Brochure
The Widescreen Weekend welcomes all those fans of large format and widescreen films – CinemaScope, VistaVision, 70mm, Cinerama and Imax – and presents an array of past classics from the vaults of the National Media Museum. A weekend to wallow in the best of cinema. HOW THE WEST WAS WON NEW TODD-AO PRINT MAYERLING (70mm) BLACK TIGHTS (70mm) Saturday 17 March THOSE MAGNIFICENT MEN IN THEIR Monday 19 March Sunday 18 March Pictureville Cinema Pictureville Cinema FLYING MACHINES Pictureville Cinema Dir. Terence Young France 1960 130 mins (PG) Dirs. Henry Hathaway, John Ford, George Marshall USA 1962 Dir. Terence Young France/GB 1968 140 mins (PG) Zizi Jeanmaire, Cyd Charisse, Roland Petit, Moira Shearer, 162 mins (U) or How I Flew from London to Paris in 25 hours 11 minutes Omar Sharif, Catherine Deneuve, James Mason, Ava Gardner, Maurice Chevalier Debbie Reynolds, Henry Fonda, James Stewart, Gregory Peck, (70mm) James Robertson Justice, Geneviève Page Carroll Baker, John Wayne, Richard Widmark, George Peppard Sunday 18 March A very rare screening of this 70mm title from 1960. Before Pictureville Cinema It is the last days of the Austro-Hungarian Empire. The world is going on to direct Bond films (see our UK premiere of the There are westerns and then there are WESTERNS. How the Dir. Ken Annakin GB 1965 133 mins (U) changing, and Archduke Rudolph (Sharif), the young son of new digital print of From Russia with Love), Terence Young West was Won is something very special on the deep curved Stuart Whitman, Sarah Miles, James Fox, Alberto Sordi, Robert Emperor Franz-Josef (Mason) finds himself desperately looking delivered this French ballet film. -
American Masters 200 List Finaljan2014
Premiere Date # American Masters Program Title (Month-YY) Subject Name 1 ARTHUR MILLER: PRIVATE CONVERSATIONS On the Set of "Death of a Salesman" June-86 Arthur Miller 2 PHILIP JOHNSON: A SELF PORTRAIT June-86 Philip Johnson 3 KATHERINE ANNE PORTER: THE EYE OF MEMORY July-86 Katherine Anne Porter 4 UNKNOWN CHAPLIN (Part 1) July-86 Charlie Chaplin 5 UNKNOWN CHAPLIN (Part 2) July-86 Charlie Chaplin 6 UNKNOWN CHAPLIN (Part 3) July-86 Charlie Chaplin 7 BILLIE HOLIDAY: THE LONG NIGHT OF LADY DAY August-86 Billie Holiday 8 JAMES LEVINE: THE LIFE IN MUSIC August-86 James Levine 9 AARON COPLAND: A SELF PORTRAIT August-86 Aaron Copland 10 THOMAS EAKINS: A MOTION PORTRAIT August-86 Thomas Eakins 11 GEORGIA O'KEEFFE September-86 Georgia O'Keeffe 12 EUGENE O'NEILL: A GLORY OF GHOSTS September-86 Eugene O'Neill 13 ISAAC IN AMERICA: A JOURNEY WITH ISAAC BASHEVIS SINGER July-87 Isaac Bashevis Singer 14 DIRECTED BY WILLIAM WYLER July-87 William Wyler 15 ARTHUR RUBENSTEIN: RUBENSTEIN REMEMBERED July-87 Arthur Rubinstein 16 ALWIN NIKOLAIS AND MURRAY LOUIS: NIK AND MURRAY July-87 Alwin Nikolais/Murray Louis 17 GEORGE GERSHWIN REMEMBERED August-87 George Gershwin 18 MAURICE SENDAK: MON CHER PAPA August-87 Maurice Sendak 19 THE NEGRO ENSEMBLE COMPANY September-87 Negro Ensemble Co. 20 UNANSWERED PRAYERS: THE LIFE AND TIMES OF TRUMAN CAPOTE September-87 Truman Capote 21 THE TEN YEAR LUNCH: THE WIT AND LEGEND OF THE ALGONQUIN ROUND TABLE September-87 Algonquin Round Table 22 BUSTER KEATON: A HARD ACT TO FOLLOW (Part 1) November-87 Buster Keaton 23 BUSTER KEATON: -
Independent Experimental Film (Animation and Live-Action) Remains the Great Hardly-Addressed Problem of Film Preservation
RESTORING EXPERIMENTAL FILMS by William Moritz (From Anthology Film Archives' "Film Preservation Honors" program, 1997) Independent experimental film (animation and live-action) remains the great hardly-addressed problem of film preservation. While million-dollar budgets digitally remaster commercial features, and telethon campaigns raise additional funds from public donations to restore "classic" features, and most of the film museums and archives spend their meager budgets on salvaging nitrates of early live-action and cartoon films, thousands of experimental films languish in desperate condition. To be honest, experimental film is little known to the general public, so a telethon might not engender the nostalgia gifts that pour in to the American Movie Classics channel. But at their best, experimental films constitute Art of the highest order, and, like the paintings and sculptures and prints and frescos of previous centuries, merit preservation, since they will be treasured continuingly and increasingly by scholars, connoisseurs, and thankful popular audiences of future generations - for the Botticellis and Rembrandts and Vermeers and Turners and Monets and Van Goghs of our era will be found among the experimental filmmakers. Experimental films pose many special problems that account for some of this neglect. Independent production often means that the "owner" of legal rights to the film may be in question, so the time and money spent on a restoration may be lost when a putative owner surfaces to claim the restored product. Because the style of an experimental film may be eccentric in the extreme, it can be hard to determine its original state: is this print complete? Have colors changed? was there a sound accompaniment? what was the speed or configuration of projection? etc. -
Spectacle Theater
SUN MON TUES Wed thurs fri SAT 1 2 3 4 5 SPECTACLE 7:30 7:30 7:30 7:30 5:00 PROTECTORS OF THE Queen of burlesque THE PINK EGG EAT MY DUST LADY OF BURLESQUE UNIVERSE Director Q&A! 7:30 10:00 10:00 10:00 FLASH FUTURE KUNG FU SPACE THUNDER KIDS HARD BASTARD 10:00 LITTLE MAD GUY 10:00 LADY OF BURLESQUE DArnA VS. THE PLANET WOMEN Midnight HERCULES UNCHAINED Midnight THE HORROR OF SPIDER ISLAND 6 7 8 9 10 11 12 3:00 7:30 7:30 7:30 7:30 7:30 5:00 blood brunch the pink egg Solar adventure dog day pizza, birra, Faso flash future kung fu lady of burlesque 5:00 7:30 keep cool 10:00 10:00 10:00 10:00 10:00 darna vs. the planet lost & forgotten cinema little mad guy space transformer eat my dust protectors of the space thunder kids women 7:30 universe Contemporary underground • special events Queen of burlesque 10:00 Midnight hard bastard the horror of spider island Midnight I.K.U. 13 14 15 16 17 18 19 3:00 7:30 7:30 7:30 7:30 7:30 & 10:00 5:00 fist church hard bastard pizza, birra, Faso Queen of burlesque dog day silent lovers yeast ONE NIGHT ONLY! 5:00 7:30 the pink egg 10:00 10:00 10:00 10:00 8Ball tv space transformer keep cool darna vs. the planet solar adventure Midnight ONE NIGHT ONLY! 7:30 women the horror of spider eat my dust island 10:00 little mad guy Midnight hercules unchained 20 21 22 23 24 25 26 3:00 7:30 7:30 7:30 7:30 7:30 5:00 blood brunch solar adventure MATCH CUTS PRESENTS Queen of burlesque eat my dust keep cool space transformer ONE NIGHT ONLY! 5:00 7:30 flash future kung fu 10:00 10:00 10:00 10:00 10:00 space thunder kids dog day I.K.U hard bastard YEAST the pink egg 7:30 10:00 space thunder kids I.K.U. -
The Representation of African Traditional Religion and Culture in Nigeria Popular Films
Innocent Ebere Uwah1 Оригинални научни рад Catholic Institute of West Africa UDK: 316.72:[791.23:2(669) ; 791.232(669) Port Harcourt, Nigeria THE REPRESENTATION OF AFRICAN TRADITIONAL RELIGION AND CULTURE IN NIGERIA POPULAR FILMS Abstract One of the ways by which religious rituals communicate in African society is by maintaining cohesion in the culture. They connect participants to richer meanings and larger forces of their community. Even in representational models, rituals create solidarity in the form of subjective experiences of sharing the same meaningful world which is attained by participants through the condensed nature of symbols used therein. Traditional religion is one ritual that despite the influence of westernization and scientific developments in Africa, still holds meaningful implications in people’s everyday life. Thus, from day break to evening, people have religious rituals with which they communicate with their God or gods, deities and ancestors. Also from weeks to seasons, months to years, there are festivals and rituals both in private and in public situations which the African still celebrate in connection with the ‘living dead’ or those in the ‘spirit world’. This paper by means of nuanced textual analysis of some Nigerian home based films: Things Fall Apart (1986), Igodo: The Land of the Living Dead (1999), Sango, (1998), Festival of Fire, (1999), Bless Me, (2005) traces religion to the root para- digm of African cultures as a channel to the construction of African identity. Key words: Nollywood, Religion, Representation and Culture. Introduction Like the practice of philosophy in Africa, Nollywood has significantly become in- volved in the process of Africa’s self reflection and identity construction by means of its cultural representations. -
1998 Education
1998 Education JANUARY JUNE 11 Video: Alfred Steiglitz: Photographer 2–5 Workshop: Drawing for the Doubtful, Earnest Ward, artist 17 Teacher Workshop: The Art of Making Books 3 Video: Masters of Illusion 18 Gallery Talk: Arthur Dove’s Nature Abstraction, 10 Video: Cezanne: The Riddle of the Bathers Rose M. Glennon, Curator of Education 17 Video: Mondrian 25 Members Preview: O’Keeffe and Texas 21 Gallery Talk: Nature and Symbol: Impressionist and 26 Colloquium: The Making of the O’Keeffe and Texas Post-impressionism Prints from the McNay Collection, Exhibition, Sharyn Udall, Art Historian, William J. Chiego, Lyle Williams, Curator, Prints and Drawings Director, Rose M. Glennon, Curator of Education 22 Lecture and Members Preveiw: The Garden Setting: Nature Designed, Linda Hardberger, Curator of the Tobin FEBRUARY Collection of Theatre Arts 1 Video: Women in Art: O’Keeffe 24 Teacher Workshop: Arts in Education, Getty 8 Video: Georgia O’Keeffe: The Plains on Paper Education Institute 12 Gallery Talk: Arthur Dove, Georgia O’Keeffe and American Nature, Charles C. Eldredge, title? JULY 15 Video: Alfred Stieglitz: Photographer 7 Members Preview: Kent Rush Retrospective 21 Symposium: O’Keeffe in Texas 12 Gallery Talk: A Discourse on the Non-discursive, Kent Rush, artist MARCH 18 Performance: A Different Notion of Beautiful, Gemini Ink 1 Video: Women in Art: O’Keeffe 19 Performance: A Different Notion of Beautiful, Gemini Ink 8 Lunch and Lecture: A Photographic Affair: Stieglitz’s 26 Gallery Talk: Kent Rush Retrospective, Lyle Williams, Portraits -
Videos in Motion
Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/211 Università degli Studi di Napoli “L’Orientale” Dipartimento di Studi e Ricerche su Africa e Paesi Arabi Tesi di Dottorato di Ricerca in Africanistica, IX ciclo - Nuova Serie VIDEOS IN MOTION Processes of transnationalization in the southern Nigerian video industry: Networks, Discourses, Aesthetics Candidate: Alessandro Jedlowski Supervisor: Prof. Alessandro Triulzi (University of Naples “L’Orientale”) Co-supervisor: Prof. Jonathan Haynes (Long Island University – New York) Academic Year 2010/2011 2 TABLE OF CONTENTS P. 5 INTRODUCTION. Videos in motion P. 16 CHAPTER I. Defining the field of enquiry: History, concepts and questions P. 40 SECTION I. Beyond the video boom: Informal circulation, crisis of production and processes of transnationalization in the southern Nigerian video industry P. 45 CHAPTER II. Regulating mobility, reshaping accessibility: The production crisis and the piracy scapegoat. P. 67 CHAPTER III. From Nollywood to Nollyworld: Paths of formalization of the video industry’s economy and the emergence of a new wave in Nigerian cinema P. 87 SECTION II. The “Nollywoodization” of the Nigerian video industry: Discursive constructions, processes of commoditization and the industry’s transformations. P. 93 CHAPTER IV. When the Nigerian video industry became “Nollywood”: Naming and branding in the videos’ discursive mobility. -
Henry Jenkins Convergence Culture Where Old and New Media
Henry Jenkins Convergence Culture Where Old and New Media Collide n New York University Press • NewYork and London Skenovano pro studijni ucely NEW YORK UNIVERSITY PRESS New York and London www.nyupress. org © 2006 by New York University All rights reserved Library of Congress Cataloging-in-Publication Data Jenkins, Henry, 1958- Convergence culture : where old and new media collide / Henry Jenkins, p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8147-4281-5 (cloth : alk. paper) ISBN-10: 0-8147-4281-5 (cloth : alk. paper) 1. Mass media and culture—United States. 2. Popular culture—United States. I. Title. P94.65.U6J46 2006 302.230973—dc22 2006007358 New York University Press books are printed on acid-free paper, and their binding materials are chosen for strength and durability. Manufactured in the United States of America c 15 14 13 12 11 p 10 987654321 Skenovano pro studijni ucely Contents Acknowledgments vii Introduction: "Worship at the Altar of Convergence": A New Paradigm for Understanding Media Change 1 1 Spoiling Survivor: The Anatomy of a Knowledge Community 25 2 Buying into American Idol: How We are Being Sold on Reality TV 59 3 Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling 93 4 Quentin Tarantino's Star Wars? Grassroots Creativity Meets the Media Industry 131 5 Why Heather Can Write: Media Literacy and the Harry Potter Wars 169 6 Photoshop for Democracy: The New Relationship between Politics and Popular Culture 206 Conclusion: Democratizing Television? The Politics of Participation 240 Notes 261 Glossary 279 Index 295 About the Author 308 V Skenovano pro studijni ucely Acknowledgments Writing this book has been an epic journey, helped along by many hands. -
The Baseball Film in Postwar America ALSO by RON BRILEY and from MCFARLAND
The Baseball Film in Postwar America ALSO BY RON BRILEY AND FROM MCFARLAND The Politics of Baseball: Essays on the Pastime and Power at Home and Abroad (2010) Class at Bat, Gender on Deck and Race in the Hole: A Line-up of Essays on Twentieth Century Culture and America’s Game (2003) The Baseball Film in Postwar America A Critical Study, 1948–1962 RON BRILEY McFarland & Company, Inc., Publishers Jefferson, North Carolina, and London All photographs provided by Photofest. LIBRARY OF CONGRESS CATALOGUING-IN-PUBLICATION DATA Briley, Ron, 1949– The baseball film in postwar America : a critical study, 1948– 1962 / Ron Briley. p. cm. Includes bibliographical references and index. ISBN 978-0-7864-6123-3 softcover : 50# alkaline paper 1. Baseball films—United States—History and criticism. I. Title. PN1995.9.B28B75 2011 791.43'6579—dc22 2011004853 BRITISH LIBRARY CATALOGUING DATA ARE AVAILABLE © 2011 Ron Briley. All rights reserved No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher. On the cover: center Jackie Robinson in The Jackie Robinson Story, 1950 (Photofest) Manufactured in the United States of America McFarland & Company, Inc., Publishers Box 611, Jefferson, North Carolina 28640 www.mcfarlandpub.com Table of Contents Preface 1 Introduction: The Post-World War II Consensus and the Baseball Film Genre 9 1. The Babe Ruth Story (1948) and the Myth of American Innocence 17 2. Taming Rosie the Riveter: Take Me Out to the Ball Game (1949) 33 3. -
Participation, Micro Cinema & Diy Punk Paper
Dirty Hands Symposium (Interdisciplinary Approaches to Materiality, Fieldwork and Archives) Plymouth, UK, January 2011 Imperfect Cinema: Participation, Micro Cinema & DiY Punk Allister Gall & Dan Paolantonio (2011) www.imperfectcinema.com This paper will outline various ways that the adoption of a trans-disciplinary approach to research and fieldwork has both informed and enabled the Imperfect Cinema research project. In recognition of the obvious limitations of a 15-minute paper, we will focus our discussion around selected areas which have been central to the development of the project, rather than attempting an all-encompassing thesis! To begin we will outline the Imperfect Cinema project, and how it represents an important disciplinary convergence between DiY punk and a film practice. We will then go on to discuss how this convergence has enabled our practice led research to address the ‘real world’ problems of exclusivity and sustainability existent in mainstream film culture. As Dr Brad Mehlenbacher has suggested (in ‘Multi-disciplinarity & 21st Century Communication Design 2009) one of the ultimate goals of trans-disciplinarity is the solving of significant real world problems. Jacques Ranciere has noted the primary political concern is the lack of recognition by those dominated in society. He considers the responsibility of one who has an influence, is not to talk on behalf of the masses, but rather to use their privileged position to facilitate the self-expression of new voices. By opening up potential for new dialogues and the sharing of knowledge. The central political act of Imperfect Cinema is aesthetic, in that it produces a rearrangement of a 1 social order, where new voices and bodies previously unseen can be heard in a participatory context outside of the experimental-intellectual and capitalist-consumerist mainstreams of film culture.