narrative technique and on the kind of spectatorship that particular techniques may encourage” (108). Accordingly, I bring the techniques and technologies underpinning screen production and reception into the frame in order to question how algorithmic
Embodiment Technologies in Science/Fiction
by media practitioners at the University of Southern California's Institute for Creative Technologies (ICT). With a little help from artificial intelligence (AI), the ICT can now generate a “photorealistic, interactive 3-D character from a human
Jeff Smith, Dominic Topp, Jason Gendler, and Francesco Sticchi
audiovisual storytelling: the everyday uses of audio and audiovisual technology; the impact of technological change on media texts; and the growth of audio culture in relation to music. Yet, despite the extraordinary ferment of sound studies research in recent
Although stereoscopic cinema was invented very early in the history of film, it did not become the standard for cinematic representations. With the latest digital wave of stereoscopic 3D cinema many shortcomings of earlier technologies have been eliminated, but debate remains about the aesthetic principles of stereoscopy. This article explores and evaluates basic approaches to aesthetic design in stereoscopic films.
André Bazin and Roland Barthes both theorize a cinematic realism based on the indexical ability of the photographic image (the ability of the image to indicate an original object). How are their arguments affected by the advent of digital, nonindexical cinematic technologies? The article considers how a nonindexical realism might be possible, by looking at three recent films: Waking Life, A Scanner Darkly, and Eternal Sunshine of the Spotless Mind.
We at Projections have stated our purpose as being to ‘facilitate a dialogue between people in the humanities and the sciences’ (not a modest goal for a little journal first making its way in the world). We have intended to do this through what seems to us the medium that best synthesises art and technology and opens itself up to scientific investigation because of its complex perceptual nature—film. Our focus, at the same time, has been on the mind/brain, since that seems to us the place were science and film best meet.
This article explores the representation of sexuality and vision in Elfriede Jelinek's Die Klavierspielerin [The Piano Teacher] (1983) and Michael Haneke's La Pianiste (2001). In its focus on the relation between Mother and Erika, Die Klavierspielerin brings right to the fore the grounding of both sexuality and visuality in the ongoing ties between mother and child. Displacing that novel onto the screen, Haneke redoubles its focus on vision. It is in the convergence between the two that we can begin to explore what may be described as the maternal dimension of the various technologies of vision that have come to pervade the everyday experience of looking—their effect on our ways of understanding the relations between visuality and selfhood, visuality and mind.
Lissa Weinstein and Banu Seckin
When Craig, an oft-humiliated and unsuccessful street puppeteer, discovers a portal into the body of John Malkovich, he finds that fusion with a live “celebrity puppet” offers a solution to the dilemmas of being human— imperfection, vulnerability, and death. In this fantastical context, the filmmakers raise questions about intention, identity, authorship, and the wisdom of elevating narcissism over Eros. Although a desire to transcend the limitations of the mortal body may be ubiquitous, the unique solution offered in Being John Malkovich is the apparent triumph of this narcissistic fantasy, rather than an acceptance of reality. This article first explores the film's use of the universal imagery of narcissism and then examines how technology, which allows widespread access to a visually oriented media culture, and changes in the meaning of fame have altered the expression of narcissistic fantasies, as well as the anxieties that accompany their fulfillment.
As we complete our second year of publication, we notice how international our journal has become. We now receive submissions and publish writing from France, Italy, England, Scotland, Israel, Spain, Germany, Denmark, Finland, Hungary, Australia, and the United States. We imagine that this list will continue to grow because of the ubiquitous nature of both film and the disciplines we bring to bear on the subject of the motion picture. This internationalism is made possible by new technologies in communication, and also by the continuing internationalism of the English language. Film has been the most international of art forms since its origins and it seems only fitting that film studies should be a joint collaboration of writers from around the globe.
Film theory has been much involved with psychology, especially with the viewer's perceptual and emotional response to the images on the screen. Psychoanalytic and cognitive film theories, though not exactly kindred spirits, have so far dominated psychological film studies. At the present time, technology offers neuroscience methods to explore the brain that open up the discourse on the mind. This article explains ways in which neuroscience, and its study of the brain, can extend our understanding and theory of film by exploring three areas of our response to cinema. Although the perception of motion is a complicated business, the phenomenon of implied motion suggests the brain's readiness to find movement even when there is none and links together many of the same perceptual mechanisms we use when viewing film and also the world outside the theater. Attention, focus, and binding are essential for us to make sense of the vast amount of stimuli that bombard our eyes. They explain what we see and do not see when viewing film and also the way film technique controls our understanding of the action on the screen. Finally, the argument about what we feel and do not feel when watching the characters on the screen may receive some clarification by neuroscience's investigation of "mirror neurons" in our brain.