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Funfear Attractions: The Playful Affects of Carefully Managed Terror in Immersive 28 Days Later Live Experiences

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

4

... and immersive cinematic experiences is not just the powerful influence of film aesthetics but also, I argue, a ludoaesthetics – embodied play-specific pleasures. These hybrid experiences afford what Giddings and Kennedy (2008) described...

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

6

... Later Live Experiences’, Helen W. Kennedy examines the audience experience of the highly acclaimed zombie street game 2.8 Hrs Later and the Secret Cinema 28 Days Later experience. The 2.8 Hrs Later street game repurposes the city as a play...

Live Cinema Presents … Cultures, Economies, Aesthetics

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

6

... by Sarah Atkinson & Helen W. Kennedy, The Edinburgh International Film Audience Conference, 30 March 2017, Filmhouse, Edinburgh and ‘Spectacular, Spectacular, No words in the vernacular, Can describe this great event …’: Attention...

Introduction

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.

Search for publications

Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

4

...We open this volume with a focus on space: the initial typology of live cinema that we proposed (Atkinson and Kennedy 2016) took the alternate spaces and locations of screens, whether enhanced, augmented or participatory as a key...

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.

Search for publications
and

and Helen W. Kennedy

and Helen W. Kennedy

Search for publications

Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

4

... [i.e. the work of live cinema] with the blossoming field of Film Festival Studies’ (Atkinson and Kennedy 2016a). It was our intention to solicit work that built specifically on this field, since it is principally the context of film...

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.

Search for publications
and

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.

Search for publications

Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

3

...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...

The Aesthetics of Immersion in Punchdrunk’s The Drowned Man: A Hollywood Fable

Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

3

... The dramatic events that led to the building being condemned have been a closely kept secret ever since.From The Drowned Man: A Hollywood Fable programme notes (2013: 1). Sarah Atkinson and Helen W. Kennedy posit that screening environments...
... cities such as Madrid and Barcelona. The current popularity of these experiences and the fact that they bear a resemblance to other ‘experiential’ film screenings such as those set up by the company Secret Cinema (Atkinson and Kennedy 2015)...

Encountering Urban Space Live at The Floating Cinema

Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

1

...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...

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

Live Cinema : Cultures, Economies, Aesthetics

Bloomsbury Academic, 2017

Book chapter

0

...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...