This article examines the post-millennial popularity of the found footage movie, in particular its engagement with the representational codes of non-fiction media. Whilst the majority of critical writings on found footage identify the 11 September attacks on the World Trade Centre as a key visual referent, they too often dwell on the literal re-enactment of the event. This article instead suggests that these films evoke fear by mimicking the aesthetic and formal properties of both mainstream news coverage and amateur recording. As such they create both ontological and epistemological confusion as to the reality of the events depicted. Rather than merely replicating the imagery of terror/ism, these films achieve their terrifying effects by mimicking the audiences media spectatorship of such crisis.
of information about development in Canadian schools during that period offer the historian a significant opportunity to study practical and ideological traditions of visual communications for pedagogical purposes among humanitarian agencies.
The focus of historical inquiries of visual media is often on the content produced and the intended audience, with limited examination of those responsible for the logistics and pedagogical dimensions of the distribution of the materials. This article discusses the following aspects of the practices of CIDA: the purpose of
The recent uses of digital technology in war films have sparked a wave of
discussions about new visual aesthetics in the genre. Drawing on the approach of
film discourse analysis, this article critically examines recent claims about
new visual grammar in the war film and investigates to what extent the insertion
of different media channels has affected the persuasive function of the genre.
Through a detailed analysis of Redacted (2007), which
constitutes an extreme case of a fiction filmmaking use of a variety of digital
channels, this article demonstrates that the multimedia format works within
systems of classical film discourse while also generating new patterns of
persuasion tied to new visual technology.
This article addresses two questions about artworks. First, why do we emotionally
respond to characters and stories that we believe are fictional? Second, why are some
media better than others at generating specific types of emotions? I answer these
questions using psychological research that suggests our minds are not unified, but
are comprised of numerous subsystems that respond differently to various aspects of
artworks. I then propose a framework to help us understand how films, videogames, and
literature interact with our minds in different ways, which explains why they tend to
excel at generating different types of emotions.
An Interview with Rainer Schlösser, Spokesperson of the Association of the Red Cross Museums in Germany (Arbeitsgemeinschaft der deutschen Rotkreuz-Museen)
and new visual media? I mean, how important can a Red Cross museum be in those times?
RS: Well, being a museum director, I would of course say they are extremely important! [(laughter]
SK: Yes, I see that point [laughter] But what exactly is it that makes them so important?
RS: Let me point back to the ten-year anniversary of the Association of the Red Cross Museums in Germany here. I remember that I gave a speech on that occasion, in which I pointed out that big companies like Mercedes, Stollwerck, or Volkswagen – they all have a corporate museum. Why
An important theme in current studies of environmental representation is the
inadequacy of many narratological and stylistic techniques for registering
ecological complexity. This article argues that, in the case of cinema, water
constitutes an especially vivid example of an allusive natural subject, and it
examines the means by which one film, The Bay (Barry Levinson,
2012), manages to confront that challenge. It pays particular attention to
The Bay’s treatment of animal life, and its
acknowledgement of water’s infrastructural currency. The article draws on
the writings of ecocritical literary theorist Timothy Morton and media historian
and theorist John Durham Peters.
This introduction to the Film Studies special issue on Sex and
the Cinema considers the special place of sex as an object of inquiry in film
studies. Providing an overview of three major topic approaches and methodologies
– (1) representation, spectatorship and identity politics; (2) the
increasing scrutiny of pornography; and (3) new cinema history/media industries
studies – this piece argues that the parameters of and changes to the
research of sex, broadly defined, in film studies reflect the development of the
field and discipline since the 1970s, including the increased focus on
putatively ‘low’ cultural forms, on areas of film culture beyond
representation and on methods beyond textual/formal analysis.
humanitarian communication, and you get a different picture: here,
history is everywhere. No website of any major humanitarian organization comes along
without its own history section. On YouTube, humanitarian players provide an ever
growing number of documentaries about their past and origins. Fundraising campaigns,
mass mailings, and social media posts all point frequently to historical achievements.
Major aid organizations now also call on their branches to ‘enhance the
historical and cultural
While Goths tend to be neglected in more mainstream media, they are thriving as part of online communities as part of the phenomenon of net.Goths. This paper considers some of the recent manifestations of such subcultural activities online, especially in relation to the practice of demarcating the boundaries of participation through displays of cultural capital (such as music and fashion), and aspects of communication that have emerged on the Internet such as ‘trolling’. The overarching concern of this paper is to explore some of the ways in which defining a subculture virtually may reinforce activities of the group in other environments.