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Subjective Interpretation

Kelly McErlean

Kelly McErlean has developed graduate and postgraduate programs in film and new media for local and international delivery and successfully delivered eLearning and onsite contracts for international broadcast organisations on behalf of the European Broadcasting Union. Kelly lectures on new media, film and entrepreneurship at the Department of Creative Arts, Media and Music, Dundalk Institute of Technology, Ireland. He has won several awards including a Golden Spider Award and a Digital Media Award for his film, new media, and photographic works. Kelly holds a PhD in visual culture from the National College of Art and Design, Dublin. Author affiliation details are correct at time of print publication.

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Interactive Narratives and Transmedia Storytelling : Creating Immersive Stories Across New Media Platforms

Routledge, 2018

Book

... Subjective Interpretation Context influences the interpretation of narrative texts. Audiences will endlessly reinterpret films during repeat viewings if the work has substance enough to promote critical analysis. Knowledge of the text...

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

Jared Orth

Jared Orth

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Seeing into Screens : Eye Tracking and the Moving Image

Bloomsbury Academic, 2018

Book

...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...

Marketing, Metrics, and Audience Cultivation

Scott Kirkpatrick

Scott Kirkpatrick is the Senior Vice President of North and South American business development and global digital strategy for DRG, a London-based production, development and distribution company that manages over 1,000 media properties, including Channel 4’s Shameless and ITV’s Doc Martin. Previously, Kirkpatrick served as executive director of distribution for MarVista Entertainment, a Los Angeles-based production and distribution company that produces original TV movies and has managed international TV deals on major franchises, including Mighty Morphin Power Rangers. Author affiliation details are correct at time of print publication.

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Introduction to Media Distribution : Film, Television, and New Media

Focal Press, 2019

Book

... Marketing, Metrics, and Audience Cultivation Although end-users have no shortage of choices when it comes to accessing new media properties, they do have a limited amount of available cash and time. Yet despite the fact that distributors...

Conclusion: Cinema as Infrastructure

Stephen Groening

Stephen Groening is Assistant Professor of Cinema and Media Studies at the University of Washington, USA. Author affiliation details are correct at time of print publication.

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Cinema Beyond Territory : Inflight Entertainment and Atmospheres of Globalisation

British Film Institute, 2014

Book

...The globalist visions analysed in this book were both inspired by and inspirational to cinema and aviation. They relied on the logics of technological solutionism – the idea that social relations can be transformed, altered and/or fixed...

Widescreen

Michael Allen

Michael Allen

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The Cinema Book

British Film Institute, 2007

Book

...During the first 20 years of cinema, the industry was engaged in a number of patent wars, one of which also determined the development of widescreen film formats. In August 1897, Thomas Edison was granted a patent for his 35mm...

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

...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...

Eating with Your Eyes: Edible Cinema and Participatory Synaesthesia

Brendon Wocke

Brendon Wocke

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Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book

...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...

The Challenge of Archiving Commercials

Catherine Cormon

Catherine Cormon

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Films That Sell : Moving Pictures and Advertising

British Film Institute, 2016

Book

...Recognition of commercials in collection policies of audiovisual archives is a rather recent phenomenon. From being considered an encumbrance in the past, collections of commercials are now turning into assets. Heritage institutions...

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

...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...

Constructing Film Festival Audiences: Performative Practices and Material Conditions

Eren Odabasi

Eren Odabasi

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International Film Festivals : Contemporary Cultures and History Beyond Venice and Cannes

I.B.Tauris, 2018

Book

...Introduction Film festivals are often considered sites that bring different audience groups together. Viewers who purchase tickets to see films; film critics and journalists, who attend multiple festivals every year; and industry...