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Dieses Essential bietet einen Überblick zu unterschiedlichen Interpretationen der Verbindung zwischen Politik und Film. Filme und Fernsehserien werden dabei als wichtige Darstellungsformen von Politik begriffen. In zahlreichen Formaten wird dies in den letzten Jahren deutlich. Interessant wird es jedoch, wenn Filme und Serien nicht den Anspruch erheben politisch zu sein, dies jedoch implizit sind. Denn Filme spielen zum einen immer mit Vorannahmen des Publikums, produzieren andererseits aber auch spezifische politische Annahmen und Weltanschauungen bei ihrem Publikum. So sind beispielsweise Ängste oder gesellschaftlich verbreitete Feindbilder für die Wirkung von Filmen bedeutungsvoll. James Bond bekommt heute keine Liebesgrüße mehr aus Moskau, dafür rücken Cyberangriffe und die zunehmende Macht Chinas in den Mittelpunkt der Filmreihe. Der Inhalt Die Bedeutung des Films für die Betrachtung von Politik Filme als Spiegel der Gesellschaft Filme und politische Ängste Filme in der politischen Bildungsarbeit Die Zielgruppen Studierende und Lehrende der Politikwissenschaften und der Soziologie Praktiker aus Politik und Medien Der Autor Dr. Ulrich Hamenstädt ist wissenschaftlicher Mitarbeiter am Institut für Politikwissenschaft der Westfälischen Wilhelms-Universität Münster.
Communication. --- Motion pictures and television. --- Communication Studies. --- Screen Studies.
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Culture --- Ethnology --- Motion pictures and television --- Cinéma et télévision. --- Study and teaching
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Das Buch befasst sich mit der Bedeutung und Relevanz eines Fangegenstandes (Star Wars) für die Konstitution der (Fan-)Identität seiner AnhängerInnen. Star Wars als ein – wenn nicht sogar „das“ – populärkulturelle[s] Phänomen zu bezeichnen, ist keine Übertreibung, hat es doch nicht nur die Art und Weise verändert, wie im modernen Kino Geschichten, durchaus auf spektakuläre Weise, erzählt werden und den Begriff des Blockbusterkinos geprägt. Was fasziniert Menschen an Star Wars? Warum beschäftigen sie sich so leidenschaftlich und intensiv mit diesem Thema? Diese Arbeit handelt von genau den Menschen, die ihr Leben und ihren Alltag mit Star Wars und einer Leidenschaft für dieses Universum verbinden und mit anderen teilen. Dabei wird insbesondere dargestellt, wie ein mediales Erzeugnis – etwa Filme, Serien oder Bücher – die Star Wars-AnhängerInnen seit vielen Jahren, gar Jahrzehnten begleitet und diese Erzählung ein Teil ihres Lebens wurde. Es geht darum, zu ergründen, wie Star Wars – um es mit einem zentralen Begriff der Sozialwissenschaften zu benennen – ein Teil der Sozialisationserfahrungen wurde. Der Inhalt Das Star Wars-Universum und seine Hintergründe • Fan-Sein und die Identität des Star Wars Fans Die Zielgruppen Erziehungs-, Kultur- und Medienwissenschaftler • SoziologInnen • Studierende • Star Wars Fans und die thematisch interessierte Öffentlichkeit Der Autor Dr. Matthias Völcker ist wissenschaftlicher Mitarbeiter am Institut für Erziehungswissenschaft der Georg-August-Universität Göttingen.
Mass media. --- Communication. --- Motion pictures and television. --- Sociology. --- Media Sociology. --- Screen Studies. --- Media Research.
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Cinema, the primary vehicle for storytelling in the twentieth century, is being reconfigured by new media in the twenty-first. Terms such as "worldbuilding," "virtual reality," and "transmedia" introduce new methods for constructing a screenplay and experiencing and sharing a story. Similarly, 3D cinematography, hypercinema, and visual effects require different modes for composing an image, and virtual technology, motion capture, and previsualization completely rearrange the traditional flow of cinematic production. What does this mean for telling stories? Fast Forward answers this question by investigating a full range of contemporary creative practices dedicated to the future of mediated storytelling and by connecting with a new generation of filmmakers, screenwriters, technologists, media artists, and designers to discover how they work now, and toward what end. From Chris Milk and Aaron Koblin's exploration of VR spherical filmmaking to Rebeca Méndez's projection and installation work exploring climate change to the richly mediated interactive live performances of the collective Cloud Eye Control, this volume captures a moment of creative evolution and sets the stage for imagining the future of the cinematic arts.
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In this book, Tal S. Shamir sets out to identify cinema as a novel medium for philosophy and an important way of manifesting and developing philosophical thought. The volume presents a comprehensive analysis of the nature of philosophy’s potential—or, more strongly put, its need—to be manifested cinematically. Drawing on the fields of cinema, philosophy, and media studies, Cinematic Philosophy adds film to the traditional list of ways through which philosophy can be created, concentrating on the unique potential of the cinematic medium to effectively put forward and create philosophy. In the process, the book opens up innovative horizons for new types of knowledge and wisdom grounded in contemporary contexts and philosophical thought. Philosophy, best characterized as the love of wisdom, is not dependent on a specific medium nor solely situated within written text or oral lectures. Shamir asserts that philosophy can, should, and must be manifested and identified in a range of different platforms. .
Philosophy. --- Motion pictures and television. --- Philosophy, general. --- Film and Television Studies. --- Film noir --- Fate and fatalism in motion pictures. --- Motion pictures --- History and criticism. --- Philosophy (General). --- Screen Studies. --- Moving-pictures and television --- Television and motion pictures --- Television --- Mental philosophy --- Humanities
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The Transformation of Television Sport: New Methods, New Rules examines how developments in technology, broadcasting rights and regulation determine what sport we see on television, where we can see it and what the final output looks and sounds like. The book provides a missing supply side perspective, including a comparison of the development of sport and television in the US and the UK. The growth of global corporate sponsorship through to league and federation controlled television coverage is also mapped. Featuring new case studies, including the NFL and Premier League, three critical pre-production processes are unpacked. Milne examines the challenges faced by broadcasters and the consequences for independent television sports production companies and the day-to-day work of sports producers and directors. As the value of broadcasting rights continue to soar, the book provides a timely insight to what has happened to television sport and why it matters.
Science --- wetenschap --- wetenschappen --- Culture—Study and teaching. --- Nursing. --- Motion pictures and television. --- Communication. --- Electrical engineering. --- Sports. --- Regional and Cultural Studies. --- Screen Studies. --- Media Studies. --- Communications Engineering, Networks. --- Popular Science in Sports.
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Cinema, the primary vehicle for storytelling in the twentieth century, is being reconfigured by new media in the twenty-first. Terms such as "worldbuilding, " "virtual reality, " and "transmedia" introduce new methods for constructing a screenplay and experiencing and sharing a story. Similarly, 3D cinematography, hypercinema, and visual effects require different modes for composing an image, and virtual technology, motion capture, and previsualization completely rearrange the traditional flow of cinematic production. What does this mean for telling stories? Fast Forward answers this question by investigating a full range of contemporary creative practices dedicated to the future of mediated storytelling and by connecting with a new generation of filmmakers, screenwriters, technologists, media artists, and designers to discover how they work now, and toward what end. From Chris Milk and Aaron Koblin's exploration of VR spherical filmmaking to Rebeca Méndez's projection and installation work exploring climate change to the richly mediated interactive live performances of the collective Cloud Eye Control, this volume captures a moment of creative evolution and sets the stage for imagining the future of the cinematic arts.
Digital cinematography. --- Motion pictures and television. --- Mass media and language. --- Motion picture industry. --- Cinéma numérique --- Cinéma et télévision --- Médias et langage --- Cinéma --- Industrie --- Vidéo --- Digital video --- Digital cinematography --- Experimental films --- Technique --- Cinéma numérique --- Cinéma et télévision --- Médias et langage --- Cinéma --- Film --- Cinéma numérique. --- Vidéo. --- Technique.
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'An excellent, original, lucid and rigorous analysis of various dimensions of irony in film: highly recommended' - Geoff King, Professor of Film Studies, Brunel University London Irony in Film is the first book about ironic expression in this medium. We often feel the need to call films or aspects of them ironic; but what exactly does this mean? How do films create irony? Might certain features of the medium help or hinder its ironic potential? How can we know we are justified in dubbing any film or moment ironic? This book attempts to answer such questions, investigating in the process crucial and under-examined issues that irony raises for our understanding of narrative filmmaking. A much-debated subject in other disciplines, in film scholarship irony is habitually referred to but too seldom explored. Combining in-depth theorising with detailed close analysis, this pioneering study asks what ironic capacities films might possess, how film style may be used ironically, and what role intention should play in film interpretation. The proposed answers have significance for our understanding of not only ironic filmmaking, but the nature of expression in this medium.
Culture --- United States --- Motion pictures and television. --- Aesthetics. --- Cultural and Media Studies. --- Film and Television Studies. --- American Culture. --- Study and teaching. --- Irony in literature. --- United States-Study and teaching. --- Screen Studies. --- Beautiful, The --- Beauty --- Esthetics --- Taste (Aesthetics) --- Philosophy --- Art --- Criticism --- Literature --- Proportion --- Symmetry --- Moving-pictures and television --- Television and motion pictures --- Television --- Psychology --- United States—Study and teaching. --- Radio broadcasting Aesthetics --- Aesthetics
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Mediations of Disruption in Post-Conflict Cinema is a transdisciplinary volume that addresses the cinematic mediation of a wide range of conflicts. From World War II and its aftermath to the exploration of colonial and post-colonial experiences and more recent forms of terrorism, it debates the possibilities, constraints and efficacy of the discursive practices this mediation entails. Despite its variety and amplitude in scope and width, the innovative and singular aspect of the book lies in the fact that the essays give voice to a variety of regions, issues, and filmmaking processes that tend either to remain on the outskirts of the publishing world and/or to be granted only partial visibility in volumes of regional cinema.
Motion pictures --- Social aspects. --- Political aspects. --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- History and criticism --- Audio-visual materials --- Mass media --- Performing arts --- Motion pictures and television. --- Communication. --- Screen Studies. --- Media Studies. --- Communication, Primitive --- Mass communication --- Sociology --- Moving-pictures and television --- Television and motion pictures --- Television
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This project offers a critical overview of how online activities and platforms are becoming an important source for the production and promotion of women’s films. Inspired by a transnational feminist framework, Maule examines blogs, websites, online services and projects related to women’s filmmaking in an interrogation of the very meaning of women’s cinema at the complex intersection with digital technology and globalization. It discusses women’s cinema 2.0 as a resistant type of cinematic expression and brings attention to the difficulties inherent in raising and expanding visibility for women’s filmic expression within a global sphere dominated by neo-liberalism and post-feminism. The author pays close attention to the challenges and contradictions involved in bringing a niche area of filmmaking and feminist discourse to the broad and diverse communities of the Internet and global media market, while also highlighting the changing forms of media and feminism. Rosanna Maule is professor of Film Studies in the Mel Hoppenheim School of Cinema at Concordia University, Montreal. She specializes in contemporary film authorship, European contemporary cinema, and feminist approaches to film and media studies. She is the author of Beyond Auteurism (2008), main editor of In the Dark Room (2009) and has edited several book chapters and film journal articles on topics related to her areas of expertise. She is part of the research team GRAFICS at Université de Montréal, on the Board of Directors of the Women’s Film History International and an active member of the Doing Women’s Film History Network and the Global Women's Cinema Project. With her colleague Guylaine Dionne, she is completing a feature documentary on the role and visibility of female film directors working in fiction filmmaking around the world.
Feminist anthropology. --- Feminist ethnography --- Feminist ethnology --- Anthropology --- Motion pictures and television. --- Humanities-Digital libraries. --- Communication. --- Social media. --- Screen Studies. --- Digital Humanities. --- Media and Communication. --- Social Media. --- User-generated media --- Communication --- User-generated content --- Communication, Primitive --- Mass communication --- Sociology --- Moving-pictures and television --- Television and motion pictures --- Television --- Humanities—Digital libraries.
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