La communication vise à interroger les problèmes méthodologiques et épistémologiques que pose l’observation sociologique du panorama audiovisuel contemporain.
ARTHEMIS is pleased to announce that Irene Rozsa received the 2012-2013 ARTHEMIS bursary for her project :
“Cuban film discourse: The evolution of cinephilia and film criticism from 1950 to 1970”
Inhabiting a narrative ecosystem is a distributed and diversified experience, that generate participation, urging for new consumption. Narration does not have a unique irradiation centre anymore, but it tends to develop along different routes.
Jay David Bolter’s article “Transference and Transparency: Digital Technology and the Remediation of Cinema” identifies a “cyberphobia” that emerged in films of the 1990s, just as digital technologies were gaining widespread acceptance in the industry (and, indeed, as blockbusters increasingly began to rely on them to create theretofore unimaginable spectacle
In this paper I’ll begin by tracing the historical context for world-building as enactment of fandom, primarily by constructing an arc between the golden age of cinephilia and the current state of transmediaphilia.
ARTHEMIS is offering a doctoral bursary worth $6000 for the academic year 2012-2013.
It is often repeated that before being an art, before being an industry, cinema was initially a technology. At the beginning, moreover, the camera was as intriguing as the illusion that it managed to recreate.