Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Using continental philosophy and critical theory, Homay King returns to the original meaning of the virtual - which denotes a potential on the cusp of becoming - to offer a new way to understand how contemporary digital art transcends distinctions between digital and analog, abstract and tangible, disembodiment and lived experience.

Art and motion pictures --- Time and art --- Computer art --- Art, Computer --- Computer craft --- Digital art --- New media art --- Art and time --- Art --- Art and moving-pictures --- Motion pictures and art --- Motion pictures --- Art and motion pictures. --- Computer art. --- Digital teknik. --- Film. --- Filmen och konsten. --- Kunst. --- Performing Arts. --- Philosophie. --- Time and art. --- Video. --- Zeit.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This special issue recognizes the work and legacy of Agnès Varda (1928–2019), a Belgian-born film director, screenwriter, photographer, and artist whose work was part of the French New Wave film movement of the 1950s and 1960s. In the wake of Varda’s passing in March 2019, contributors offer reflections on the continued relevance of her work. Until the end of her life, Varda was engaged with feminism, ethics, politics, and the representation of women in the film industry. Rather than focusing on Varda's most famous films, the contributors to this issue consider aspects of her oeuvre that have contemporary relevance and those that point to the future: films, art installations, and photographs that have received less scholarly attention; her political activism; her role as manager of her own production company; and her Instagram presence. By emphasizing these often-overlooked elements of Varda’s creative output, the contributors reveal the depth of her artistic legacy and demonstrate how vastly important and interconnected her entire body of work is.

Women motion picture producers and directors --- Varda, Agnès, --- Criticism and interpretation.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Horror films have exploded in popularity since the tragic events of September 11, 2001, many of them breaking box-office records and generating broad public discourse. These films have attracted A-list talent and earned award nods, while at the same time becoming darker, more disturbing, and increasingly apocalyptic. Why has horror suddenly become more popular, and what does this say about us? What do specific horror films and trends convey about American society in the wake of events so horrific that many pundits initially predicted the death of the genre? How could American audiences, after tasting real horror, want to consume images of violence on screen? Horror after 9/11 represents the first major exploration of the horror genre through the lens of 9/11 and the subsequent transformation of American and global society. Films discussed include the Twilight saga; the Saw series; Hostel; Cloverfield; 28 Days Later; remakes of The Texas Chainsaw Massacre, Dawn of the Dead, and The Hills Have Eyes; and many more. The contributors analyze recent trends in the horror genre, including the rise of 'torture porn,' the big-budget remakes of classic horror films, the reinvention of traditional monsters such as vampires and zombies, and a new awareness of visual technologies as sites of horror in themselves. The essays examine the allegorical role that the horror film has held in the last ten years, and the ways that it has been translating and reinterpreting the discourses and images of terror into its own cinematic language.

Horror films --- Terror in motion pictures. --- September 11 Terrorist Attacks, 2001 --- Motion pictures --- History and criticism. --- Influence.

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Art