1,720,979 research outputs found
Repositorium für die Medienwissenschaft Maud Ceuterick Post-cinematic spectatorship in virtual reality: Negotiating 3DoF and 6DoF in QUEERSKINS: ARK
No full textQueerkins: Ark is the second chapter of a four-chapter cinematic virtual reality
experience Queerskins (2018-ongoing). The piece, made by Illya Szilak and
Cyril Tsiboulski in collaboration with the choreographer Brandon Powers,
premiered at the Venice VR Expanded exhibition of the Mostra Interna-
zionale d’Arte Cinematografica La Biennale di Venezia that took place digi-
tally – in virtual reality – from 2-12 September 2020. As visitors, wearing
a VR headset, enter the virtual world of the Venice Biennale, they embark on
a gondola..
Media Studies 101
Full text linkI. Reading Media TextsII. Culture and ContextsIII. Production and StructuresIV. Audiences & IdentityMedia Studies 101 is the open educational resource for media studies studies in New Zealand, Australia, and Pacifica. We have constructed this text so it can be read in a number of ways. You may wish to follow the structured order of 'chapters' like you would in a traditional printed textbook. Each section builds on and refers back to previous sections to build up your knowledge and skills. Alternatively, you may want to go straight to the section you are interested in -- links will help guide you back to definitions and key ideas if you need to refresh your knowledge or understand a new concept."A Creative Commons Textbook."Made by Dr Sy Taffel, Dr Erika Pearson, Dr Brett Nicholls, Martina Wengenmeir, Khin-Wee Chen, Hazel Phillips, Collette Snowden, Bernard Madill, Jane Ross, Sarah Gallagher, Thelma Fisher, Shah Nister J. Kabir, Maud Ceuterick, Hannah Mettner and Massimiliana Urbano"--p. ix
Maud Ceuterick's Quick Files
No full textThe Quick Files feature was discontinued and it’s files were migrated into this Project on March 11, 2022. The file URL’s will still resolve properly, and the Quick Files logs are available in the Project’s Recent Activity
Neil Archer (2012) <i>The French Road Movie: Space, Mobility, Identity</i>Michael Gott and Thibaut Schist, eds. (2013) <i>Open Road, Closed Borders: The Contemporary French-Language Road Movie</i>
No full text
Affirmative Post-Cinema: Narrative and Aesthetic Responses to Gender and Power
No full textThe project funded by a Individual Marie Skłodowska-Curie Fellowship looks at affirmative narratives and aesthetics across post-cinematic arts (including gallery films, VR, AR, and locative videos) and their relations to gender, power and the status quo. Summary: The goal of the project is to determine how post-cinematic arts counteract and aim to change current gender norms through affirmative narratives and aesthetics. By analysing post-cinematic critical engagements with issues of gender and power, I examine how post-cinema reframes gender norms in an affirmative manner. Rather than being 'natural' or neutral, gender is a social construct inflected with layers of meaning, affect and power. Gender manifests as norms that are 'performed' and reiterated (mostly unconsciously and on a daily basis) through the ways we dress, interact and behave in different spaces and social environments. As attempts to shift the power imbalance between genders, feminist films, television series and social campaigns have often opposed the binary associations between gender and space (men/women, public/domestic). While feminist narratives are often created through negation and opposition, this project takes affirmative narratives and aesthetics as starting point. In contrast to narratives that lament women's lack of (political, spatial, social) power compared to men, affirmative arts produce models of gender and power that are fluid and in constant transformation rather than embedded in dichotomies. Following philosopher Rosi Braidotti's work on 'affirmative ethics' (2006), this project defines affirmative arts as using the limitations to our 'freedom' as a foundation for creating alternative futures, or in other words proposing solutions for enhancing our political, social, spatial freedom. Instead of presenting characters that are alienated by the negative effects of gender norms and power on their actions, affirmative films counteract gender and power through what Braidotti (2011) calls 'micropolitical instances of activism'. As I demonstrated in my doctoral dissertation, these are visible both in the narrative (the characters are wilful to change their gendered and disempowered conditions) and in the aesthetic of the film (filmic forms such as camera work, editing and sound creating a world that affect the spectator positively by opening up possibilities of change and reconfiguration of gender and power). 2018-2021: Marie Skłodowska-Curie Actions (Individual Fellowships Call: H2020-MSCA-IF-2017): grant number 80025
- …
