Titlebook: Besides the Screen; Moving Images throug Virginia Crisp,Gabriel Menotti Gonring Book 2015 Palgrave Macmillan, a division of Macmillan Publi

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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

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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

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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

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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

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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

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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

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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