Henry Lowood and Michael Nitsche (eds)
- Published in print:
- 2011
- Published Online:
- August 2013
- ISBN:
- 9780262015332
- eISBN:
- 9780262295369
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262015332.001.0001
- Subject:
- Computer Science, Game Studies
Over the last decade, machinima—the use of computer game engines to create movies—has emerged as a vibrant area in digital culture. Machinima as a filmmaking tool grew from the bottom up, driven by ...
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Over the last decade, machinima—the use of computer game engines to create movies—has emerged as a vibrant area in digital culture. Machinima as a filmmaking tool grew from the bottom up, driven by enthusiasts who taught themselves to deploy technologies from computer games to create animated films quickly and cheaply. This book provides a critical overview of this rapidly developing field. The contributors include both academics and artist-practitioners. They explore machinima from multiple perspectives, ranging from technical aspects of machinima, from real-time production to machinima as a performative and cinematic medium, while paying close attention to the legal, cultural, and pedagogical contexts for machinima. The book extends critical debates originating within the machinima community to a wider audience and provides a foundation for scholarly work from a variety of disciplines. It charts the emergence of machinima as a game-based cultural production that spans technologies and media, forming new communities of practice on its way to a history, an aesthetic, and a market.Less
Over the last decade, machinima—the use of computer game engines to create movies—has emerged as a vibrant area in digital culture. Machinima as a filmmaking tool grew from the bottom up, driven by enthusiasts who taught themselves to deploy technologies from computer games to create animated films quickly and cheaply. This book provides a critical overview of this rapidly developing field. The contributors include both academics and artist-practitioners. They explore machinima from multiple perspectives, ranging from technical aspects of machinima, from real-time production to machinima as a performative and cinematic medium, while paying close attention to the legal, cultural, and pedagogical contexts for machinima. The book extends critical debates originating within the machinima community to a wider audience and provides a foundation for scholarly work from a variety of disciplines. It charts the emergence of machinima as a game-based cultural production that spans technologies and media, forming new communities of practice on its way to a history, an aesthetic, and a market.
Jeffrey A. Bell and Claire Colebrook (eds)
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748636082
- eISBN:
- 9780748671748
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748636082.003.0009
- Subject:
- Philosophy, History of Philosophy
This chapter considers the cinematic medium as a confederate to the impasse of history. Gilles Deleuze develops two semiotics that explore a vast taxonomy of movement-images and time-images. He ...
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This chapter considers the cinematic medium as a confederate to the impasse of history. Gilles Deleuze develops two semiotics that explore a vast taxonomy of movement-images and time-images. He provides two theses for the transformation of the movement-image to the time-image. In the transformation of the movement-image into the time-image, it is not that the movement-image is replaced, rather it is as if it has been overcome, becoming a ‘first dimension’. Deleuze's images and signs of the cinema are ahistorical. It is mentioned that the movement-image is time as Chronos, the time-image is time as Aion. The reason why there are no films of the Japanese New Wave that investigate the A-bombing of Hiroshima and Nagasaki is then dealt. It is apparent that the movement-image presents no simple, single form of history. The beauty of the time-image is reflected by a beauty of the movement-image.Less
This chapter considers the cinematic medium as a confederate to the impasse of history. Gilles Deleuze develops two semiotics that explore a vast taxonomy of movement-images and time-images. He provides two theses for the transformation of the movement-image to the time-image. In the transformation of the movement-image into the time-image, it is not that the movement-image is replaced, rather it is as if it has been overcome, becoming a ‘first dimension’. Deleuze's images and signs of the cinema are ahistorical. It is mentioned that the movement-image is time as Chronos, the time-image is time as Aion. The reason why there are no films of the Japanese New Wave that investigate the A-bombing of Hiroshima and Nagasaki is then dealt. It is apparent that the movement-image presents no simple, single form of history. The beauty of the time-image is reflected by a beauty of the movement-image.
