Pub Date : 2001-11-01DOI: 10.1080/10402130120088767
J. Gilbert
{"title":"A Certain Ethics of Openness: Radical Democratic Cultural Studies","authors":"J. Gilbert","doi":"10.1080/10402130120088767","DOIUrl":"https://doi.org/10.1080/10402130120088767","url":null,"abstract":"","PeriodicalId":177086,"journal":{"name":"Strategies: Journal of Theory, Culture & Politics","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2001-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125325026","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2001-05-01DOI: 10.1080/10402130120042406
Sheila C. Murphy
{"title":"Converging Channels (of Discourse): Linking Between Televisual and Digital Networks","authors":"Sheila C. Murphy","doi":"10.1080/10402130120042406","DOIUrl":"https://doi.org/10.1080/10402130120042406","url":null,"abstract":"","PeriodicalId":177086,"journal":{"name":"Strategies: Journal of Theory, Culture & Politics","volume":"435 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2001-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131507906","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2001-05-01DOI: 10.1080/10402130120042415
François Debrix
{"title":"Cyberterror and Media-Induced Fears: The Production of Emergency Culture","authors":"François Debrix","doi":"10.1080/10402130120042415","DOIUrl":"https://doi.org/10.1080/10402130120042415","url":null,"abstract":"","PeriodicalId":177086,"journal":{"name":"Strategies: Journal of Theory, Culture & Politics","volume":"255 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2001-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121189933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2001-05-01DOI: 10.1080/10402130120042398
Jon Mckenzie
In the summer of 1999, an America youngster surng the Internet for the site of eToys, a US online toy company, instead made his way to the site of etoy, a performance art group once based in Europe but now living on in the networks of cyberspace. The young American, instead of going to etoys.com, mistakenly went to etoy.com. There, rather than being greeted by bright white pages featuring smiling faces and the latest in games and action gures, he instead found stark black pages devoted to etoy.HISTORY, etoy.SHARES, and etoy.PRODUCTS. Instead of seeing text and graphics of baby blue and candy red, he saw neon orange and electric green. And rather than moving through the
{"title":"Towards a Sociopoetics of Interface Design: Etoy, eToys, TOYWAR","authors":"Jon Mckenzie","doi":"10.1080/10402130120042398","DOIUrl":"https://doi.org/10.1080/10402130120042398","url":null,"abstract":"In the summer of 1999, an America youngster surng the Internet for the site of eToys, a US online toy company, instead made his way to the site of etoy, a performance art group once based in Europe but now living on in the networks of cyberspace. The young American, instead of going to etoys.com, mistakenly went to etoy.com. There, rather than being greeted by bright white pages featuring smiling faces and the latest in games and action gures, he instead found stark black pages devoted to etoy.HISTORY, etoy.SHARES, and etoy.PRODUCTS. Instead of seeing text and graphics of baby blue and candy red, he saw neon orange and electric green. And rather than moving through the","PeriodicalId":177086,"journal":{"name":"Strategies: Journal of Theory, Culture & Politics","volume":"304 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2001-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124331693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2001-05-01DOI: 10.1080/10402130120042389
James S. Hurley
{"title":"Titanic Allegories: The Blockbuster as Art Film","authors":"James S. Hurley","doi":"10.1080/10402130120042389","DOIUrl":"https://doi.org/10.1080/10402130120042389","url":null,"abstract":"","PeriodicalId":177086,"journal":{"name":"Strategies: Journal of Theory, Culture & Politics","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2001-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123508699","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2001-05-01DOI: 10.1080/10402130120042370
Eric Faden
This article concerns the relation between technology’s use and its portrayal in cinema. Cinema serves not only as the paradigm for 20th century visual media like television, video games, and the Internet, but also proves to be an “absorbing” technology—quickly assimilating or adopting competing entertainment sources through innovations and integrations such as sound, color, and widescreen. Thus, any study examining cinematic invention may be instructive for other contemporary media. In general though, scholars have treated the history of lmic technology as a matter of simple chronology. Film history becomes the assigning of dates to technical introductions. While this historical approach establishes a teleology of technical invention and “progress,” it obscures alternative practices. In effect, such a historical approach assumes a homogenous usage of new media technologies. Instead, I want to suggest that for every technical innovation in cinema there exists another history; a history showing an alternative, even critical, usage of new technology. This history can be pinpointed in specic lm texts, especially those texts caught in the increasingly short period after a technology’s initial introduction but prior to its standardization. Ultimately, this article serves as part of a larger project: to show that Hollywood follows a specic, recurring pattern of technological integration and this pattern supports certain ideological positions. In this article, however, I want to examine a recent technological introduction: computers. Beginning in the early 1990s, Hollywood openly embraced the computer industry. Under the buzzword “convergence,” studios integrated computerbased special effects rms into their production hierarchy. Moreover, wanting to secure a comfortable position in future entertainment prot centers, studios “re-purposed” feature lm material by diversifying into multimedia CD-ROMS and Internet computer software ventures. Soon, Hollywood talent agents like Creative Artist Agency’s Robert Kavner specialized in the delicate art of brokering deals between nerdy Silicon Valley programmers and Hollywood studio sharks. By mid-decade, the mixture of Hollywood’s increasing computerization, the introduction of virtual reality entertainment, and the Internet explosion all combined with studio executives’ “lemming” mentality and eventually spilled
本文关注的是技术的使用与电影中技术的刻画之间的关系。电影不仅是20世纪电视、视频游戏和互联网等视觉媒体的典范，而且被证明是一种“吸收”技术——通过声音、色彩和宽屏等创新和整合，迅速吸收或采用竞争的娱乐资源。因此，任何关于电影发明的研究都可能对其他当代媒体具有指导意义。总的来说，学者们把电子技术的历史看作是一个简单的年表。电影史变成了技术引进的日期分配。虽然这种历史方法建立了技术发明和“进步”的目的论，但它模糊了替代实践。实际上，这种历史方法假设了新媒体技术的同质使用。相反，我想说的是，对于电影中的每一项技术创新，都存在着另一段历史;显示新技术的另一种甚至是关键性使用的历史。这段历史可以在特定的影片文本中找到，特别是那些在技术最初引入之后但在其标准化之前的越来越短的时间内捕获的文本。最终，本文作为一个更大项目的一部分:展示好莱坞遵循一种特殊的、反复出现的技术整合模式，这种模式支持某些意识形态立场。然而，在本文中，我想检查最近的技术介绍:计算机。从20世纪90年代初开始，好莱坞公开拥抱计算机行业。在“融合”这个流行词下，工作室将基于计算机的特效集成到他们的制作层次中。此外，为了在未来的娱乐中心获得一个舒适的位置，制片厂通过将多媒体cd - rom和互联网计算机软件企业多样化来“重新利用”电影材料。很快，创意艺术家经纪公司(Creative Artist Agency)的罗伯特·卡夫纳(Robert Kavner)等好莱坞人才经纪公司专门从事在硅谷书呆子程序员和好莱坞电影公司巨头之间进行交易的微妙艺术。到2005年中期，好莱坞日益增长的计算机化、虚拟现实娱乐的引入以及互联网的爆炸式增长，与电影公司高管的“旅鼠”心态结合在一起，最终溢出
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Pub Date : 2001-04-01DOI: 10.1080/10402130120088776
Mark Devenney
{"title":"Toward an Ethics of Incommensurability","authors":"Mark Devenney","doi":"10.1080/10402130120088776","DOIUrl":"https://doi.org/10.1080/10402130120088776","url":null,"abstract":"","PeriodicalId":177086,"journal":{"name":"Strategies: Journal of Theory, Culture & Politics","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2001-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124936739","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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