Related Papers
Horror Sensorium: Media and the Senses (2012, McFarland Publishing)
Angela Ndalianis
Horror Sensorium is about the horror genre and how horror media affect the mind and body of the spectator. Horror media engage their audiences through combinations of storytelling practices, emotional and sensory experiences, cognitive responses and a physicality that fires the sensorium into action. Through an analysis of media examples as varied as the films 28Days Later, Planet Terror and Death Proof, the video games Resident Evil 4, Batman: Arkham Asylum, and Doom 3, the theme park rides The Revenge of the Mummy, the transmedia experiences associated with The Dark Knight and True Blood, and the paranormal romance novels featuring Anita Blake and Sookie Stackhouse, this book examines how the sensorium interweaves sensory and intellectual encounters to produce powerful systems of perception. It's argued that the diverse media that are the study of this book all generate medium specific corporeal and sensory responses from their spectators, players, readers and participants.
Jahrbuch der Gesellschaft für Kinder- und Jugendliteraturforschung
Compulsion to Repeat
Deanna England
Beginning of the article: There is a curious gap in the scholarship on texts for young people: while series fiction has been an important stream of publishing for children and adolescents at least since the last decades of the nineteenth century, the scholarship on these texts has not been central to the development of theories on and criticism of texts for young people. The focus of scholarship is much more likely to be on stand-alone, high-quality texts of literary fiction.
The Compulsion to Repeat. Intruduction to Seriality and Texts for Young People
2017 •
Nyala Ali
High Theory/Low Culture This page intentionally left blank High Theory/Low Culture
Neamatullah sharifi
Bahçeşehir University, Graduate School, Game Design Master Program
Cybertextual Transcendence: A Study on Fallout in the Context of Gérard Genette’s Theory of Transtextuality (Master’s Thesis)
2021 •
Deniz Denizel
By re/presenting unique concepts such as uchronia, futurism, retro-futurism, futurology, technological determinism, simulacrum, anachronism, and post-apocalypse borrowed from the history of art and philosophy, Fallout (1997), as an open-world turn-based/real-time hybrid role-playing game, is one of the games that made its name in the history of video games through its extraordinary story. These components not only make Fallout a “possible” projection of the dark future but also habilitate it to be analyzed in the context of narrative and intertextuality theories concerning its postmodern narrative model and reference system built on popular culture. In this master’s thesis, therefore, the intertextuality system presented by Fallout is re-defined and classified applying the Textual Transcendence theory of narrative and intertextuality theoretician Gérard Genette, through the classical and popular reference examples that compose it. Keywords: Fallout, Genette, Transtextuality, Narrative, Interpretation
Beyond Narrative Exploring Narrative Liminality and Its Cultural Work, edited by Sebastian M. Herrmann, Katja Kanzler, and Stefan Schubert
The Poetics and Politics of Staring Spectacle and Disability in Chris Ware’s Building Stories
2022 •
Gesine Wegner
Open Access at: https://www.transcript-verlag.de/978-3-8376-6130-9/beyond-narrative/?c=313000018 Challenging the idea that processes of ‘closure’ function as primary means by which comics involve their readers, this article investigates how Chris Ware’s Building Stories uses spectacle as a symbolic form that disrupts narrative as much as it depends on it to engage its readers. My reading of Building Stories serves to illustrate that some comics offer a visual pleasure that is not strictly based on narrative and the sequentiality of their images. Spectacle in Building Stories, I argue, functions as both an element of disruption and of orientation. I propose that, by using spectacle, the book not only guides its readers through a hardly navigable narrative web but also allows them to participate in acts of staring. By inviting readers to stare, Building Stories turns the disability of its protagonist into a highly visible and disruptive element while, at the same time, narrativizing it as a part of ordinary, everyday life.
Neo_Baroque_Aesthetics_and_Contemporary_Entertainment.pdf
Angela Ndalianis
The artists of the seventeenth-century baroque period used spectacle to delight and astonish; contemporary entertainment media, according to Angela Ndalianis, are imbued with a neo-baroque aesthetic that is similarly spectacular. In Neo-Baroque Aesthetics and Contemporary Entertainment, she situates today's film, computer games, comic books, and theme-park attractions within an aesthetic-historical context and uses the baroque as a framework to enrich our understanding of contemporary entertainment media. The neo-baroque aesthetics that Ndalianis analyzes are not, she argues, a case of art history repeating or imitating itself; these forms have emerged as a result of recent technological and economic transformations. The neo-baroque forms combine sight and sound and text in ways that parallel such seventeenth-century baroque forms as magic lanterns, automata, painting, sculpture, and theater but use new technology to express the concerns of the late twentieth and early twenty-first century. Moving smoothly from century to century, comparing ceiling paintings to the computer game Doom, a Spiderman theme park adventure to the baroque version of multimedia known as the Bel Composto, and a Medici wedding to Terminator 2:3D, the book demonstrates the logic of media histories. Ndalianis focuses on the complex interrelationships among entertainment media and presents a rigorous cross-genre, cross-historical analysis of media aesthetics.
Routledge
Horror Franchise Cinema
2022 •
William Proctor
This book explores horror film franchising from a broad range of interdisciplinary perspectives and considers the horror film's role in the history of franchising and serial fiction. Comprising 12 chapters written by established and emerging scholars in the field, Horror Franchise Cinema redresses critical neglect toward horror film franchising by discussing the forces and factors governing its development across historical and contemporary terrain while also examining text and reception practices. Offering an introduction to the history of horror franchising, the chapters also examine key texts including Universal Studio monster films, Blumhouse production films, The Texas Chainsaw Massacre, A Nightmare on Elm Street, Alien, I Spit on Your Grave, Let the Right One In, Italian zombie films, anthology films, and virtual reality. A significant contribution to studies of horror cinema and film/media franchising from the 1930s to the present day, this book will be of interest to students and scholars of film studies, media and cultural studies, franchise studies, political economy, audience/reception studies, horror studies, fan studies, genre studies, production cultures, and film histories.
Neo-Baroque Aesthetics and Contemporary Entertainment
Jingwen He
Rethinking the Rhetoric of Remix: Copies and Material Culture in Digital Networks
Margie Borschke
What roles do media technologies, artifacts, and users play in cultural change? This dissertation focuses on the shift from analog to digital media and concentrates on the role played by copies and replication in both systems of representation to identify and analyze material practices and rhetorical claims about their cultural influence. Specifically, it identifies and critiques the influence of recording formats qua copies in the history of three forms of composition in popular-music culture—remixes, disco edits, and MP3 blogs—to ask how something that is just the same can bring something new into being. I show that a focus on an artifact’s status as a copy—an object that can be said to be the same as other things—can illuminate our understanding of the cultural changes associated with digital and network technologies. By simultaneously identifying new cultural practices that are dependent on pure copying and resurrecting histories of media use, I critique the rhetoric of remix and participation as common tropes in digital discourse. This thesis examines the ways in which digital technologies were shaped by analog ones, as well as how and why analog formats persist in an era of digital networks. This exploration highlights the materiality of all media formats and shows how everyday users have played with and exploited material affordances over the past half-century. It also ponders the persistence of romantic ideals about authorship and expression within modes of expression and discourse that seem to challenge such constructions. What do these continuities and contradictions suggest about the networked experience and the social and cultural pleasures we derive from it? By teasing out unspoken assumptions about media and culture, this thesis offers fresh perspectives on the cultural poetics of networks and artifacts and poses questions about the promises and challenges of network visibility.
