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Enactive Authorship

Second-Order Simulation of the Viewer Experience—A Neurocinematic Approach

Pia Tikka

-order authorship ( Tikka 2008, 284 ). The view is inspired by the dynamical systems theory of mind ( Maturana and Varela [1973] 1980 ; Kelso 1995 ). With second-order authorship, I referred to “the role of creating whole systemic environments … for the spectators

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When Lamps Have Feelings

Empathy and Anthropomorphism Toward Inanimate Objects in Animated Films

Alyssa D. Edwards and Daniel M. Shafer

character (Singer and Lamm 2009). Zillmann (2006a) discusses this phenomenon, pointing out that our limbic system constantly monitors our environment for any threats. Threats are perceived prior to any cognitive consideration of the stimulus; therefore

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The Self On-Screen

Pavel Pyś Reflects on The Body Electric

Pavel Pyś

and touch feedback … that respond to human touch.” Both Leeson and Hansen—drawing on the technologies available to each at the time—force us to renegotiate our understanding of touch, lust, and desire within these newly mediated environments, not

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Passing for Children in Cate Shortland’s Lore

Andrew J. Webber

that allegorical environment, the place of habitation of the German family. 19 It is the dark room of the process of photographic development and a kind of camera obscura (“dark room”), a dark (also because it is historically grim and obscured

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Redefining Representation

Black Trans and Queer Women’s Digital Media Production

Moya Bailey

individual health strategies. Trans women of color are not simply naming the violence they experience but are building networks of support and recognition for their work that help them create safer environments in which to live and communicate. Brown Bois are

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Jane M. Kubiesa, Looi van Kessel, Frank Jacob, Robert Wood, and Paul Gordon Kramer

environment. He discusses the role of both the religious and the secular in creating the monster. Although Brown sets up the syllogism of the cyborg as monster and the human as cyborg, he does not carry this through to its obvious conclusion of the human as

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Situating Screen Bodies

Brian Bergen-Aurand

/counter-hegemony. They are, of course, not “shiny, happy people” oblivious to their environment, but rather smiling in relation to their situation, despite the threats to their happiness. These images, then, invoke a series of dynamics that refuses to acquiesce to

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Bodies with Objects in Space through Screens

Casual Virtuality and the Self-Mediation of Laura Paolini's Constraining Aesthetics

Jakub Zdebik

department, blunting the whole environment and bending it into the context of the work. Documentation Study is a conceptual riff on a performance piece, working the levels of mediation, giving the work a room to exist that is not material but virtual

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An Otaku with Chinese Characteristics?

Localizing Japanese ACG Currents in Lu Yang's The Beast

Fred Shan

in the 1980s in Japan, otaku culture was initially rooted in the postwar Japanese social environment but has since, with the spread of Japanese ACG around the world, garnered a global following ( Ito 2012: xiv ). For Hiroki Azuma, otaku culture

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The Aesthetic of Grotesque in Lu Yang's Delusional Mandala and Delusional World

Gabriel Remy-Handfield

virtual environment. In this film, Lu Yang investigates the transformative possibilities offered by digital technologies and animation. Delusional Mandala also echoes Delusional Crime and Punishment (2016) in its imagining of the artist's own passing