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Stephen Prince

Digital visual effects bridge art and science in ways that have expanded the expressive tools available to filmmakers. Digital imaging also has enlarged a domain for realism in cinema based on indexical and perceptual factors. Examining these factors, the article questions the visual skepticism that often surrounds discussion of visual effects in film studies. A conjunction of art and science has characterized cinema throughout its history, especially in the era of “philosophical toys” from which the medium originated. The article examines that era in light of what it suggests about digital imaging today and the aesthetic forms that it enables.

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Murray Smith

: consider, for example, lens and film stock artifacts—lens flare, racked focus, visual distortions arising from wide or telephoto lenses, visible grain or pixilation, and color grading. Far from being marginal, exceptional qualities of the look of a film

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Alan Voodla, Elen Lotman, Martin Kolnes, Richard Naar, and Andero Uusberg

camera, which renders the look of the object much flatter. The latter image has lower contrast because most of the shadows fall off-camera. 4. Catchlight/eyelight: absent (low-contrast) and present (high-contrast). In addition to drawing attention to

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Sharifah Aishah Osman

Sexual Assault in Young Adult Literature.” The Looking Glass: New Perspectives on Children's Literature 17 ( 3 ). Connell , Raewyn W. (1995) 2005 . Masculinities

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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

. Atget photographs empty Parisian streets and gives them, according to Benjamin, the look of crime scenes: “The scene of a crime, too, is deserted; it is photographed for the purpose of establishing evidence. With Atget, photographs become standard

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When Princesses Become Dragons

Critical Literacy, Damsel, and Confronting Rape Culture in English Classrooms

Shelby Boehm, Kathleen Colantonio-Yurko, Kathleen Olmstead, and Henry “Cody” Miller

. “ Critical Representations of Sexual Assault in Young Adult Literature .” The Looking Glass: New Perspectives on Children's Literature 17 ( 3 ) (online). Colantonio-Yurko , Kathleen C. , Henry Miller , and Jennifer Cheveallier . 2018 . “ ‘But

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(Para)normalizing Rape Culture

Possession as Rape in Young Adult Paranormal Romance

Annika Herb

, Michael . ( 1996 ) 2010 . Young Adult Literature: From Romance to Realism . Chicago : ALA Editions . Cleveland , Erika , and E. Sybil Durand . 2014 . “ Critical Representations of Sexual Assault in Young Adult Literature .” The Looking Glass

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Steven Eastwood

-life contextual-gaze experience. We see a person looking and we deduce to who or what the look is directed. Sometimes we mistakenly react to a person as though they are looking at us when in fact they are not. Similarly, probability but not certainty of shot

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Los Roldán and the Inclusion of Travesti Narratives

Representations of Gender-Nonconforming Identities in Argentinian Telenovelas

Martín Ponti

makeup and clothing as incompatible with the look of the company, which is a cosmetics company. These distinctions are evident from the interview between Laisa and her brother's personal assistant throughout part of the eighth episode. Figure 3

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Carl Plantinga

contribute to this mood of melancholic foreboding and determination in the face of threat. Filmed with a chroma-key technique, the visual design of the film replicates the look of the Frank Miller comic series on which the film is based. Much of the film is