標(biāo)題: Titlebook: Besides the Screen; Moving Images throug Virginia Crisp,Gabriel Menotti Gonring Book 2015 Palgrave Macmillan, a division of Macmillan Publi [打印本頁(yè)] 作者: 選民 時(shí)間: 2025-3-21 17:51
書(shū)目名稱Besides the Screen影響因子(影響力)
書(shū)目名稱Besides the Screen影響因子(影響力)學(xué)科排名
書(shū)目名稱Besides the Screen網(wǎng)絡(luò)公開(kāi)度
書(shū)目名稱Besides the Screen網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱Besides the Screen被引頻次
書(shū)目名稱Besides the Screen被引頻次學(xué)科排名
書(shū)目名稱Besides the Screen年度引用
書(shū)目名稱Besides the Screen年度引用學(xué)科排名
書(shū)目名稱Besides the Screen讀者反饋
書(shū)目名稱Besides the Screen讀者反饋學(xué)科排名
作者: endarterectomy 時(shí)間: 2025-3-21 23:11
Terms of Intimacy: Blog Marketing, Experiential Desegregation and Collaborative Film Value Productioonship in a concrete case of Internet film marketing. The analysis focuses on the way in which Internet-mediated intimacy between the film industry and the audience has been implemented as a marketing strategy.作者: 全面 時(shí)間: 2025-3-22 02:21 作者: BARB 時(shí)間: 2025-3-22 06:13
https://doi.org/10.1057/9781137471024Film distribution; film marketing; film promotion; curation; archiving; piracy; file-sharing; public screen作者: gnarled 時(shí)間: 2025-3-22 11:39
978-1-349-50082-6Palgrave Macmillan, a division of Macmillan Publishers Limited 2015作者: ETHER 時(shí)間: 2025-3-22 15:01
Sakura Yamasaki,Astrid Spreitzerdeo and broadcast television came to disturb the traditional organization of the cinema, revealing the image as soon as it was captured and bringing it into the audience’s home. Currently, computer synthesis and online networks have even stronger effects on the medium as they increase the public’s a作者: Parley 時(shí)間: 2025-3-22 20:52 作者: Indict 時(shí)間: 2025-3-22 22:25
Luminous Insect Inspired Algorithmsoduced new ways of organizing, crafting and handling the materials involved in these practices. While under this light, the fields of media and cultural studies have recently drawn theoretical attention to the alternative, or informal, forms of film delivery (Cubitt, 2005; Lobato, 2012) or the trans作者: 宏偉 時(shí)間: 2025-3-23 05:23
Lecture Notes in Electrical Engineeringelective, communities for film swapping; I have chosen to omit the name of this community out of concern for its members. Specialist torrent sites like these are unregulated in that they are not sanctioned by the copyright industry — yet, internally, they remain highly regulated. The chapter will pr作者: 杠桿 時(shí)間: 2025-3-23 08:24 作者: 莎草 時(shí)間: 2025-3-23 11:06
Lecture Notes in Electrical Engineeringonship in a concrete case of Internet film marketing. The analysis focuses on the way in which Internet-mediated intimacy between the film industry and the audience has been implemented as a marketing strategy.作者: CLASH 時(shí)間: 2025-3-23 14:39
Lecture Notes in Electrical Engineeringwhen it had offered few original shows, the network now introduced seven productions based on a ‘portfolio approach’ that catered to different tastes and cost/production strategies (Berman, 2009). Among the additions to the line-up was . (ABC, 2009), a science-fiction drama that soon became the obje作者: Mitigate 時(shí)間: 2025-3-23 20:20 作者: hypnotic 時(shí)間: 2025-3-23 22:56
Zhigang Tian,Yi Ding,Fangfang Ding, which we define as ‘a(chǎn)rt-moment’. The term ‘live audiovisual performance describes an event of sound and image manipulation. Besides being ephemeral, events of live audiovisual performance share other common features, such as the use of technology for production and exhibition and the dynamic parti作者: 鍵琴 時(shí)間: 2025-3-24 02:35
https://doi.org/10.1007/978-3-642-20958-1tats like home and cinema. If contemporary urban living is increasingly reliant upon the use of various communication technologies (both ‘public’ and ‘personal’ media, such as mobile phones, tablets, information panels, computer terminals, billboards, media fa?ades) this means that, whatever the dev作者: 松軟 時(shí)間: 2025-3-24 10:03 作者: Lethargic 時(shí)間: 2025-3-24 13:03
Overview: New media technologies impact cinema well beyond the screen. This volume speculates about the changes in modes of accessing, distributing, storing and promoting moving images and how they might affect cinematographic experience, economy and historiography.978-1-349-50082-6978-1-137-47102-4作者: Femine 時(shí)間: 2025-3-24 17:34 作者: Cumbersome 時(shí)間: 2025-3-24 22:43 作者: diathermy 時(shí)間: 2025-3-25 00:42 作者: Curmudgeon 時(shí)間: 2025-3-25 06:09
Lecture Notes in Electrical Engineeringovide an overview and a discussion of these sites, and the way these are integrated in a wider economy of film circulation, user agency, knowledge and affects. In theorizing my findings, I will mainly draw on theories of culture and sociality outlined by Pierre Bourdieu.作者: 顯微鏡 時(shí)間: 2025-3-25 08:46
Lecture Notes in Electrical Engineeringct of speculation. The series focused on a group of FBI agents investigating the consequences of a blackout that causes the entire world to lose consciousness for 2 minutes and 17 seconds, during which time everyone has a vision of themselves on 29 April 2010.作者: 使虛弱 時(shí)間: 2025-3-25 12:00 作者: 指派 時(shí)間: 2025-3-25 18:25
From the Big Screen to the Small Ones: How Digitization is Transforming the Distribution, Exhibitionoducers, distributors and exhibitors are being forced to respond to the popularity of the Internet and the success of digital platforms. As a consequence the ways of consuming movies are dramatically changing and the film industry is desperately trying to readapt itself to this new scenario.作者: 法律的瑕疵 時(shí)間: 2025-3-25 19:59 作者: BOOST 時(shí)間: 2025-3-26 03:25
Zhigang Tian,Yi Ding,Fangfang Dingand other actions, we will look at concepts of time in the philosophy of Alfred North Whitehead. The chapter proposes a theoretical structure to define live audiovisual performance based on a series of relations rather than hierarchies. This structure will provide the basis for the consideration of a number of issues about documentation.作者: 內(nèi)閣 時(shí)間: 2025-3-26 05:55
Innovative Computing Technologya projection space, a music concert or a theatre performance) screens that operate ‘out in the open’, especially when they are meant to serve a purpose of interactivity, need to entertain and engage a very heterogeneous crowd.作者: wall-stress 時(shí)間: 2025-3-26 11:12
Introduction: In the Grooves of the Cinematographic Circuit — at least not on celluloid. Inasmuch as this might be the origin of a crisis in medium specificity, it is also what allows film to seamlessly converge with other media, escaping from the bounds of cinematic presentation into potentially limitless sites of exhibition and consumption, from mobile phones to public facades.作者: Hormones 時(shí)間: 2025-3-26 15:30 作者: 行為 時(shí)間: 2025-3-26 18:30 作者: 描繪 時(shí)間: 2025-3-27 00:06 作者: 使無(wú)效 時(shí)間: 2025-3-27 03:11
From the Big Screen to the Small Ones: How Digitization is Transforming the Distribution, Exhibitionaused by the digital revolution are transforming the film industry at a more fast-paced and more far-reaching scale than anything that came before. Producers, distributors and exhibitors are being forced to respond to the popularity of the Internet and the success of digital platforms. As a conseque作者: 檔案 時(shí)間: 2025-3-27 05:42
Notes on Film Distribution: Networks, Screens and Practicesoduced new ways of organizing, crafting and handling the materials involved in these practices. While under this light, the fields of media and cultural studies have recently drawn theoretical attention to the alternative, or informal, forms of film delivery (Cubitt, 2005; Lobato, 2012) or the trans作者: Eructation 時(shí)間: 2025-3-27 13:15
Catering for Whom? The Problematic Ethos of Audiovisual Distribution Onlineelective, communities for film swapping; I have chosen to omit the name of this community out of concern for its members. Specialist torrent sites like these are unregulated in that they are not sanctioned by the copyright industry — yet, internally, they remain highly regulated. The chapter will pr作者: 暴發(fā)戶 時(shí)間: 2025-3-27 17:23
1-18-08 — Viral Marketing Strategies in Hollywood Cinemaices and media products. This chapter will focus particularly on Hollywood’s use of viral marketing, notably, more complex viral campaigns which encourage immersion in and interaction with the world of the film before, during and after viewing; allowing the viewer to shape, or at least appear to sha作者: Glucocorticoids 時(shí)間: 2025-3-27 21:37 作者: 護(hù)身符 時(shí)間: 2025-3-28 00:22 作者: 移動(dòng) 時(shí)間: 2025-3-28 05:43
Audiovisual Archives and the Public Domain: Economics of Access, Exclusive Control and the Digital Sd orphan works. In what follows, it will focus specifically on the concept of ‘digital skew’ — an asymmetry between analogue and digitized collections — which seems to inhibit the visibility of important works of film that are arguably crucial to our understanding of the past. Copyright gridlock has作者: 狗舍 時(shí)間: 2025-3-28 08:02
Live Audiovisual Performance and Documentation, which we define as ‘a(chǎn)rt-moment’. The term ‘live audiovisual performance describes an event of sound and image manipulation. Besides being ephemeral, events of live audiovisual performance share other common features, such as the use of technology for production and exhibition and the dynamic parti作者: 高度贊揚(yáng) 時(shí)間: 2025-3-28 13:39
Public Screenings Beside Screens: A Spatial Perspectivetats like home and cinema. If contemporary urban living is increasingly reliant upon the use of various communication technologies (both ‘public’ and ‘personal’ media, such as mobile phones, tablets, information panels, computer terminals, billboards, media fa?ades) this means that, whatever the dev作者: 神刊 時(shí)間: 2025-3-28 18:07 作者: 抑制 時(shí)間: 2025-3-28 22:05
Luminous Insect Inspired AlgorithmsRenoir Cinema (a member of the Curzon Cinemas chain) and the video-on-demand (VOD) service ‘Curzon on Demand’, a streaming platform of non-theatrical film distribution and exhibition. Drawing on the methodological and analytical tools of the material semiotic version of science and technology studie作者: circuit 時(shí)間: 2025-3-29 00:35
Chung-Kai Wu,Wen-Cheng Chao,Jia-Wei Changhan passive, by withholding information on forthcoming releases and daring consumers to follow trails of online clues to get at the information. This move to encourage agency, or the appearance of agency, in the cinematographic experience is often discouraged in other areas of the industry, for exam作者: JEER 時(shí)間: 2025-3-29 06:58 作者: fulcrum 時(shí)間: 2025-3-29 08:57
https://doi.org/10.1007/978-3-642-20958-1ors and interactive interfaces, which means that the definite space of cinematic projection is now paralleled by convoluting surfaces of data (Casetti, 2013, p. 30). In turn, the showcasing of cinematic narratives concerning ‘electronic representation’, a space structured for sustained reflection, i作者: 傳染 時(shí)間: 2025-3-29 13:04 作者: Thrombolysis 時(shí)間: 2025-3-29 18:21
1-18-08 — Viral Marketing Strategies in Hollywood Cinemahan passive, by withholding information on forthcoming releases and daring consumers to follow trails of online clues to get at the information. This move to encourage agency, or the appearance of agency, in the cinematographic experience is often discouraged in other areas of the industry, for exam作者: 愉快么 時(shí)間: 2025-3-29 23:06
Audiovisual Archives and the Public Domain: Economics of Access, Exclusive Control and the Digital Sparent that even in that category the relation between what is potentially available in analogue form as opposed to its digital copy is skewed. By highlighting the varying practices in which both for-profit and non-profit archives provide access to their public domain works, the chapter reveals how 作者: PRISE 時(shí)間: 2025-3-30 02:44
Public Screenings Beside Screens: A Spatial Perspectiveors and interactive interfaces, which means that the definite space of cinematic projection is now paralleled by convoluting surfaces of data (Casetti, 2013, p. 30). In turn, the showcasing of cinematic narratives concerning ‘electronic representation’, a space structured for sustained reflection, i
