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Audiences as Detectives: Eye Tracking and Problem Solving in Screen Mysteries

Seeing into Screens : Eye Tracking and the Moving Image

Bloomsbury Academic, 2018

Book chapter

...The mystery genre has experienced a recent resurgence in screen media, from teen noirs Veronica Mars (2004–2007, 2014) and Pretty Little Liars (2010–present), teen slasher Scream (2015–present), to the many adaptations of Sherlock Holmes...

Eating with Your Eyes: Edible Cinema and Participatory Synaesthesia

Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

...A substantial amount of research has, and with reason, been devoted to the subject of gastronomic representation and consumption upon the silver screen. It goes without saying that this most fundamental and necessary human activity allows...

Introduction

Sarah Atkinson

Sarah Atkinson is Principal Lecturer in Film and Media at the University of Brighton, UK, and an audio-visual arts practitioner undertaking explorations into new forms of fictional and dramatic storytelling in visual and sonic media. Author affiliation details are correct at time of print publication.

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and Helen W. Kennedy

and Helen W. Kennedy

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Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

...Our readers will have already discerned that audiences feature a great deal in the first two sections of this volume – populating and negotiating the spaces and temporalities of live cinema; audiences are indeed key to animating live cinema...

Introduction

Sarah Atkinson

Sarah Atkinson is Principal Lecturer in Film and Media at the University of Brighton, UK, and an audio-visual arts practitioner undertaking explorations into new forms of fictional and dramatic storytelling in visual and sonic media. Author affiliation details are correct at time of print publication.

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Helen W. Kennedy

Helen W. Kennedy is Head of the School of Media at the University of Brighton, UK. Author affiliation details are correct at time of print publication.

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Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

...This section brings together cutting-edge, practice-based enquiry into different aspects of live cinema production. The contributions take creative practice forwards in a number of key ways:They examine advances in creative practice in live...

Introduction

Sarah Atkinson

Sarah Atkinson is Principal Lecturer in Film and Media at the University of Brighton, UK, and an audio-visual arts practitioner undertaking explorations into new forms of fictional and dramatic storytelling in visual and sonic media. Author affiliation details are correct at time of print publication.

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and

and Helen W. Kennedy

and Helen W. Kennedy

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Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

...The act of film viewing is inherently a time-based, temporally specific occasion. Nowhere more is this the case than in film festivals which work to a large extent to a specific annual or biannual calendar, take place over a clearly defined...

Living Cinema Memories: Restaging the Past at the Pictures

Matthew Jones

Matthew Jones is Associate Professor in Film Studies at De Montfort University, UK. He has published widely on mid-century cinema audiences and science fiction film and television. He is the co-editor of Time Travel in Popular Media: Essays on Film, Television, Literature and Video Games (2015). Author affiliation details are correct at time of print publication.

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Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

...Introduction Between 2013 and 2016, I was part of a team of researchers at University College London, led by Melvyn Stokes and also including Emma Pett, which collected people’s memories of visiting cinemas in Britain’s villages, towns...

Science Fiction, Audiences and the Internet

Keith M Johnston

Keith M. Johnston is Lecturer in Film and Television Studies at the University of East Anglia and author of Coming Soon: Film Trailers and the Selling of Hollywood Technology. Author affiliation details are correct at time of print publication.

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Science Fiction Film : A Critical Introduction

Berg, 2011

Book chapter

...In 1984, William Gibson’s science-fiction novel Neuromancer imagined a network of ‘interconnected computers and databanks, which users entered by directly connecting their consciousness to the network or matrix … Once inside, users could...

The Opera Virgins Project: Operatic Event Cinema as a New Cultural Experience

Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

...The ten-year anniversary of the Metropolitan Opera House’s first live cinema broadcast presents a suitable milestone for assessing the maturation of operatic event cinema, which has developed into a distinct art form with particular...

Encountering Urban Space Live at The Floating Cinema

Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

...Live cinema has been defined as cinema that ‘escapes beyond the boundaries of the auditorium’ (Atkinson and Kennedy 2016) to occupy ‘real’ space. In live cinema screenings elements of ‘performance or interactivity inspired by the content...

Conclusion: A Legacy

James Russell

James Russell is Principal Lecturer in Film Studies at De Montfort University, UK. His last book was The Historical Epic and Contemporary Hollywood (Bloomsbury, 2007). His short writing has appeared in Cinema Journal, the Journal of American Studies, the Guardian and numerous edited collections. Author affiliation details are correct at time of print publication.

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Jim Whalley

Jim Whalley is an independent scholar based in the UK. He writes on American cinema history, and is the author of Saturday Night Live, Hollywood Comedy and American Culture (2010). His short writing has also appeared in The New Review of Film and Television Studies. Author affiliation details are correct at time of print publication.

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Hollywood and the Baby Boom : A Social History

Bloomsbury Academic, 2018

Book chapter

...While their status as working filmmakers gradually declines, the boomer filmmakers discussed throughout this book have, today, largely reached a point where their legacy and influence is more substantial than their ongoing work...