include topics such as the workings of affect, emotion, and mood; exploring new ways of theorizing subjectivity and objectivity in film; the ethical implications of new digital technologies; and the practical significance of imaginative aesthetic
Search Results
War Memories and Online Encyclopedias
Framing 30 June 1941 in Wikipedia
Mykola Makhortykh
especially considering the growing impact of digital technology on education. The only way to confront this potentially troubling situation is by recognizing the need for increased digital awareness on the part of both teachers and students. If there is no
In Journal of Educational Media, Memory, and Society
- Published (Print):
- 01 Sep 2017
- Article Type:
- Research Article
- Pages:
- 40–68
Ted Nannicelli
interest to me here is that this is not just the case when a film is watched on a laptop, a television, with headphones, and so forth. Even dedicated screening rooms at many universities, including mine, lack multichannel surround sound technology
Girls’ Work in a Rural Intercultural Setting
Formative Experiences and Identity in Peasant Childhood
Ana Padawer
ideals projected onto everyday tasks on farms. Although girls have access to formal education in agro-technology (like Saúl’s sister), the main organizational tasks related to the crops were a male domain. Saúl was the one in charge of explaining the
Anastasia Todd
and circulated within and by way of Poynter’s channel. The affective exchanges in the Q&A comment section are a reminder that technology is “lived: it alters our subjectivity” ( Sobchack 2000: 138 ). In this article I characterize affect as an
Questions of Authorship
Some Comments on David Bordwell’s Narration in the Fiction Film
Paisley Livingston
Cinematic Work of Art .” Æ: Canadian Aesthetics Journal 4 . http://www.uqtr.ca/AE/vol_4/index.htm . Rajan , Mira T. Sundara . 2011 . Moral Rights: Principles, Practice and New Technology . Oxford : Oxford University Press . 10.1093/acprof
Designing a New Method of Studying Feature-Length Films
An Empirical Study and its Critical Analysis
Jose Cañas-Bajo, Teresa Cañas-Bajo, Eleni Berki, Juri-Petri Valtanen, and Pertti Saariluoma
technology, it makes sense to consider and investigate film viewing as a technological experience. In this article, we have illustrated how we can study films using traditional user-experience research methods. Our goal has been to shift from a subjectivist
Post-Carroll
Functional Elements of the Moving Image
Philip Cowan
fulfills artistic criteria, given its distinctive technological character—a character which has evolved and continues to evolve—is a fascinating and far from settled matter” ( Smith 2001, 473 ). Smith seemingly emphasizes technology, rather than technique
Karen Pearlman
online videos created by working editor Sven Pape, posted May to July 2016. Pape uses screen capture technology to record his working process, including screen captures of the editing tools and a thumbnail image of Pape himself as he watches material and
Gianni Barchiesi, Laura T. Di Summa, Joseph G. Kickasola, and Peter Verstraten
avenue of discussion pertains to the editors’ interest in the present and future of documentary. Documentary techniques are changing due to changes in contemporary filmmaking technologies, perceptions of what needs to be documented and what does not are