... Cover Design: Aart Jan Bergshoeff The paper on which this book is printed meets the requireme... more ... Cover Design: Aart Jan Bergshoeff The paper on which this book is printed meets the requirements of ISO 9706:1994, Information ... 1 Donna Haraway, 'A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century', in Simians, Cyborgs and ...
... Cover Design: Aart Jan Bergshoeff The paper on which this book is printed meets the requireme... more ... Cover Design: Aart Jan Bergshoeff The paper on which this book is printed meets the requirements of ISO 9706:1994, Information ... 1 Donna Haraway, 'A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century', in Simians, Cyborgs and ...
Interactive films are defined here as an audiovisual narrative flow aimed at creating drama along... more Interactive films are defined here as an audiovisual narrative flow aimed at creating drama along with its characterizing suspense, curiosity, and surprise. Interaction is defined as an audiovisual alignment that allows the interactor to intervene or steer the story progression in different ways (by voice recognition or touch screen options). Interaction forms an added layer comparable to the addition of sound to silent movies. As with the addition of a soundtrack, an added interactive layer to the sound and image layers creates new narrative forms and audiovisual compositions. These new narrative forms include the new data-base narrative form discussed by Lev Manovich, often expressed through new digital enabled audiovisual compositions such as morphing. However, adding an interactive layer poses a series of challenges which concern the need to script, direct, edit and design a coherent work when the story, the characters and the drama may not engender immersion due to out of ficti...
Introduction 1. From the Photogenic to the Simulacrum 2. Film Constructs 3. Dialectic Film Montag... more Introduction 1. From the Photogenic to the Simulacrum 2. Film Constructs 3. Dialectic Film Montage 4. Imaginary Signifiers/Voyeuristic Pleasures Questions for Discussion Guide to Further Reading Notes Index
Chapter 1 Introduction Part 2 Part I: Historical and Theoretical Background Chapter 3 1 The Polit... more Chapter 1 Introduction Part 2 Part I: Historical and Theoretical Background Chapter 3 1 The Political Economy of Globalization Chapter 4 2 U.S. Global Ideologies and Israeli/Palestinian National Ideologies Chapter 5 3 Television News Audiovisual Ideological Frames Chapter 6 4 Competing Macro-Frames Part 7 Part II: Micro-Frame Case Studies Chapter 8 5 Reports on al Qaeda Terror and the U.S.-Led "War against Terror" Chapter 9 6 The al Aksa Intifada Chapter 10 7 Summary Discussion of Case Studies Chapter 11 Bibliography
The long-held presumption that films react by fidelity, to abstraction or manipulation of an exis... more The long-held presumption that films react by fidelity, to abstraction or manipulation of an existent pre-filmic reality came under attack with the advent of the postmodern episteme. Postmodernists suggested that “reality,” if existent at all, is always-already present in people’s minds as textual fabrication, model, or simulation that in fact precede reality or even generate it. As Jean Baudrillard described it, “the empirical object, to which qualities of shape, color, matter, function and discourse are assigned is a myth . . . it is nothing but the types of relations and different meanings converging and swirling around it.”1 This conception of reality gradually invaded different disciplines. Hayden White rejected the historians’ pretension to reveal humanity’s elusive past through historical facts, claiming that facts are nothing more than texts that mediate an always-already mediated reality. Rather, historians construct the past to begin with according to the structuring possi...
So, what new contribution does the book bring to our table? The authors say that dismantling ‘is ... more So, what new contribution does the book bring to our table? The authors say that dismantling ‘is a particular and, in many respects uniquely complicated sub-category of policy change, where the political urge to hide is particularly evident . . . ’ (221). More ominously, they say that ‘the concept of dismantling strategies now needs to be further expanded . . . ’ (220). It is difficult to see why. Nevertheless, for those who make policy at both national and local levels, for Masters students, lobbyists and analysts, this book will make a modest addition to their bookshelves.
ABSTRACT: New interactive media works based upon moving audio-visual material often result in dis... more ABSTRACT: New interactive media works based upon moving audio-visual material often result in distraction rather than sustained engagement. Using Dual Coding theory, Cognitive Load theory, and Constructivist Narrative Film Theory, this study claims that distraction results from split attention problems generated by these works. Analysis of several new media works, particularly "Interactive films", instantiates these claims. For interactive moving audio-visual works to sustain deep wide ranged engagement, multi-tasking split attention problems have to be avoided or managed.
... Cover Design: Aart Jan Bergshoeff The paper on which this book is printed meets the requireme... more ... Cover Design: Aart Jan Bergshoeff The paper on which this book is printed meets the requirements of ISO 9706:1994, Information ... 1 Donna Haraway, 'A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century', in Simians, Cyborgs and ...
... Cover Design: Aart Jan Bergshoeff The paper on which this book is printed meets the requireme... more ... Cover Design: Aart Jan Bergshoeff The paper on which this book is printed meets the requirements of ISO 9706:1994, Information ... 1 Donna Haraway, 'A Cyborg Manifesto: Science, Technology, and Socialist-Feminism in the Late Twentieth Century', in Simians, Cyborgs and ...
Interactive films are defined here as an audiovisual narrative flow aimed at creating drama along... more Interactive films are defined here as an audiovisual narrative flow aimed at creating drama along with its characterizing suspense, curiosity, and surprise. Interaction is defined as an audiovisual alignment that allows the interactor to intervene or steer the story progression in different ways (by voice recognition or touch screen options). Interaction forms an added layer comparable to the addition of sound to silent movies. As with the addition of a soundtrack, an added interactive layer to the sound and image layers creates new narrative forms and audiovisual compositions. These new narrative forms include the new data-base narrative form discussed by Lev Manovich, often expressed through new digital enabled audiovisual compositions such as morphing. However, adding an interactive layer poses a series of challenges which concern the need to script, direct, edit and design a coherent work when the story, the characters and the drama may not engender immersion due to out of ficti...
Introduction 1. From the Photogenic to the Simulacrum 2. Film Constructs 3. Dialectic Film Montag... more Introduction 1. From the Photogenic to the Simulacrum 2. Film Constructs 3. Dialectic Film Montage 4. Imaginary Signifiers/Voyeuristic Pleasures Questions for Discussion Guide to Further Reading Notes Index
Chapter 1 Introduction Part 2 Part I: Historical and Theoretical Background Chapter 3 1 The Polit... more Chapter 1 Introduction Part 2 Part I: Historical and Theoretical Background Chapter 3 1 The Political Economy of Globalization Chapter 4 2 U.S. Global Ideologies and Israeli/Palestinian National Ideologies Chapter 5 3 Television News Audiovisual Ideological Frames Chapter 6 4 Competing Macro-Frames Part 7 Part II: Micro-Frame Case Studies Chapter 8 5 Reports on al Qaeda Terror and the U.S.-Led "War against Terror" Chapter 9 6 The al Aksa Intifada Chapter 10 7 Summary Discussion of Case Studies Chapter 11 Bibliography
The long-held presumption that films react by fidelity, to abstraction or manipulation of an exis... more The long-held presumption that films react by fidelity, to abstraction or manipulation of an existent pre-filmic reality came under attack with the advent of the postmodern episteme. Postmodernists suggested that “reality,” if existent at all, is always-already present in people’s minds as textual fabrication, model, or simulation that in fact precede reality or even generate it. As Jean Baudrillard described it, “the empirical object, to which qualities of shape, color, matter, function and discourse are assigned is a myth . . . it is nothing but the types of relations and different meanings converging and swirling around it.”1 This conception of reality gradually invaded different disciplines. Hayden White rejected the historians’ pretension to reveal humanity’s elusive past through historical facts, claiming that facts are nothing more than texts that mediate an always-already mediated reality. Rather, historians construct the past to begin with according to the structuring possi...
So, what new contribution does the book bring to our table? The authors say that dismantling ‘is ... more So, what new contribution does the book bring to our table? The authors say that dismantling ‘is a particular and, in many respects uniquely complicated sub-category of policy change, where the political urge to hide is particularly evident . . . ’ (221). More ominously, they say that ‘the concept of dismantling strategies now needs to be further expanded . . . ’ (220). It is difficult to see why. Nevertheless, for those who make policy at both national and local levels, for Masters students, lobbyists and analysts, this book will make a modest addition to their bookshelves.
ABSTRACT: New interactive media works based upon moving audio-visual material often result in dis... more ABSTRACT: New interactive media works based upon moving audio-visual material often result in distraction rather than sustained engagement. Using Dual Coding theory, Cognitive Load theory, and Constructivist Narrative Film Theory, this study claims that distraction results from split attention problems generated by these works. Analysis of several new media works, particularly "Interactive films", instantiates these claims. For interactive moving audio-visual works to sustain deep wide ranged engagement, multi-tasking split attention problems have to be avoided or managed.
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