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1. Between Page and Screen: Remaking Literature Through Cinema and Cyberspace

   Between Page and Screen: Remaking Literature Through Cinema and Cyberspace

   Eric Dean Rasmussen - 25.08.2011 - 14:00

2. After 391: Picabia's early multimedia experiments

   This essay attempts to answer a simple question: why did Francis Picabia stop publishing 391? By October 1924, when the final issue was published, 391 was the longest running magazine related to dada and the burgeoning surrealist movement, and Picabia was well established as one of the premiere avant-gardists in Paris and beyond, with literary, artistic and personal connections to all the major players in the movements that had turned the art world upside down for almost a decade. What caused him to suddenly cease publication of his provocative (but well respected) journal?

   (Source: author's abstract.)

   Chris Joseph - 27.06.2012 - 07:34

3. Intervals and Links: The Indeterminancy of a Link's Possible Future

   This paper proposes that link node hypertext can be conceived of as a postcinematic discourse and that a major mechanism of this geneology is available through the comparison of the hypertext link to the cinematic edit. I wish to consider the hypertext link from the point of view of Deleuze's cinematic 'sensory motor schema' where the link can be considered as analogous to Bergson's zone of indetermination between perception and reaction. This work builds upon recent theoretical work that has attempted to define hypertext as a temporal or cinematic medium.

   Scott Rettberg - 19.01.2013 - 13:32

4. Cinematic Paradigms for Hypertext

   This paper combines film and hypertext theory to try and 'prise open' some hypertextual questions that have been poorly framed. It will use incorporate short film examples. It is also hoped that along the way it might provide a useful way for thinking about how, or why, cinematic theory (of one sort or another) is becoming increasingly relevant in hypertext theory.

   The recent history of hypertext and the image has produced a geneology that seems to have orientated itself around one of three major axes:

   • poststructural literary theories
   • post-ditigal celebrations of hypermedia 'promiscuity'
   • post-digital appropriations of cinema into hypertext

    

   The first category is what could be characterised as 'canonical' hypertext theory, and is represented by the early work of people like Jay David Bolter, Michael Joyce, George Landow and Richard Lanham. This work implicitly locates hypertext within existing literary traditions and relies upon the insights, and appropriation of, various softened forms of poststructural philosophy (Derrida, Deleuze, de Man, Iser, et al).

   Scott Rettberg - 19.01.2013 - 17:33

5. Entrevista a Pedro Barbosa

   Pedro Barbosa recalls in this interview his memories of the first studies and works of electronic literature back in the 1970s when he was a student at the University of Porto. Starting from considerations about his collaborative works he makes a comparison between printed literature tradition and the age of new media focusing on the paradigmatic change of this very transitional period with live in and the differences of the creative work. Furthermore he makes an interesting statement on regard of the aesthetics of new media by comparing works of electronic literature with the oral tradition. In the end he mentions some of the milestones of electronic literature that he considers important.

   Daniele Giampà - 22.03.2015 - 15:58

6. Fill in the Blanks: Narrative, Digital Work and Intermediality

   Bleeding Through: Layers of Los Angeles 1920 – 1986 is a digital work produced by the Labyrinth Project Research Center of the University of Southern California. Part paper, part DVD-ROM, part real, part fiction, it is based on an unsolved mystery, and unfolds the story of Molly, an Irish immigrant who moved to Los Angeles in 1920. She was at the heart of an investigation in the late 50’s early 60’s as she was the main suspect in the death of her second husband Walt. The project gathers hundreds of different data types like maps, pictures, texts, newspaper articles, books and movies, through which the user navigates in order to ultimately, resolve the crime. But how does the user build an interpretable narrative through this hypermedial database?

   Hannah Ackermans - 28.11.2015 - 13:58

7. The Digital Imaginary: Literature and Cinema of the Database

   Over the past half century, computing has profoundly altered the ways stories are imagined and told. Immersive, narrative, and database technologies transform creative practices and hybrid spaces revealing and concealing the most fundamental acts of human invention: making stories.

   The Digital Imaginary illuminates these changes by bringing leading North American and European writers, artists and scholars, like Sharon Daniel, Stuart Moulthrop, Nick Montfort, Kate Pullinger and Geof Bowker, to engage in discussion about how new forms and structures change the creative process. Through interviews, commentaries and meta-commentaries, this book brings fresh insight into the creative process form differing, disciplinary perspectives, provoking questions for makers and readers about meaning, interpretation and utterance. The Digital Imaginary will be an indispensable volume for anyone seeking to understand the impact of digital technology on contemporary culture, including storymakers, educators, curators, critics, readers and artists, alike.

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   Table of contents

   Acknowledgements

   Introduction
   The Digital Imaginary

   Scott Rettberg - 29.01.2020 - 13:58

8. Comedy and Cultural Critique in American Film

   Cinema mostly taught viewers how to understand cinema, constantly thematizing its addresses to and relationship to its audience. Comic cinema has provided a self-reflexive critique of this auto-technological or auto-medial training, allowing audiences to glimpse the many ways they were being conditioned and articulated in the mechanical era by this quintessential example of art form become industry. Comic cinema then considers through its own medial relations to the construction of human perception and consciousness (or aesthetics). Comedy and Cultural Critique in American Film adds to the conversation of film comedy in two primary, interrelated ways. One is it argues for the centrality of comedy in film as a means for staging (or attempting) cultural criticism. Another focuses on the powerful and sustained shifts in visual culture emergent in the 20th century that cinema helped generate, foster, and question. As a result, comedic film often addresses technology (industrial, mechanical, visual, digital, military, etc.) and techne generally that constitute the grounds of possibility for cinema itself that fall into its purview of self-reflexive cultural criticism.

   Ashleigh Steele - 26.09.2021 - 10:24