3. The Networked Screen: Moving Images, Materiality, and the Aesthetics of Size

Wasson, Haidee

doi:10.3138/9781442684355-005

Cited by 23 publications

(6 citation statements)

References 0 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…14 Similarly, in her comparative study of Quick Time movies and Imax films, Haydee Wasson stresses that not only "big screens engage us differently from small ones", but size "changes the meaning of the represented changes". 15 In what follows I consider the two aspects, the technical-operational and the aesthetic dimension of the various dispositifs not merely to compare and contrast, but to explore the ways in which they coexist. In the first instance, I propose to look at the effect of the process of reduction that the filmed image undergoes as it is displayed on small screens.…”

Section: Egoyan (Butterfly) Wenders (Wings Of Desire (E)motion)mentioning

confidence: 99%

The Gulliver effect: screen size, scale and frame, from cinema to mobile phones

Beugnet

2022

New Review of Film and Television Studies

View full text Add to dashboard Cite

The encounter between the cinema image, originally created to be seen on a large screen, and the mobile phone used as screening device, stands as one of the most striking instances of what Erkki Huhtamo calls the "Gulliverisation" of our contemporary environments: "a twodirectional optical-cultural 'mechanism' that works against the idea of a common anthropomorphic scale".In what follows, I focus on the aesthetic impact of the coexistence of images coming from extremes of the representational scale, from the cinema to the monumental projections that typify the contemporary trend in spectacular displays in museums and public spaces, to the tiny screens of our mobile phones. With reference to practices of collecting, archiving and possessive viewing, as well as the relationship between off and on-screen space, I suggest that strategies of making strange allow us to remain alert to, but also to historicize the diverse modes of reception and appreciation of the moving image that such shifts in scale produce.

show abstract

Section: Egoyan (Butterfly) Wenders (Wings Of Desire (E)motion)mentioning

confidence: 99%

The Gulliver effect: screen size, scale and frame, from cinema to mobile phones

Beugnet

2022

New Review of Film and Television Studies

View full text Add to dashboard Cite

show abstract

“…With laptops, incrementally better speaker and sound card technologies meant they could be used as portable technologies for various purposes (Haddon, 2011). This includes film-watching -albeit via a smaller-sized screen than the 'big screen' cinema or 'small screen' television (Wasson, 2007). Laptops carry a broad range of films in CD-ROM, DVD, Blu-Ray, digital file formats, and VoD, and thus provide access to various films.…”

Section: Understanding How Screens Feature In Watching Filmmentioning

confidence: 99%

Screen Choice: The Relations, Interactions and Articulations of Watching Film

2021

View full text Add to dashboard Cite

People watch films on televisions, laptops, tablets, smartphones, and cinema screens. As technologies, each of these screen types provide different opportunities to select particular films, and to choose when and where to watch them. This raises questions about how and why people choose particular screens and the viewing experiences they gain from doing so. To address these questions, we draw on 200 semi-structured interviews with film audience members in England. We use Livingstone's (1998, 2013) notion of interactions and relations and Hartmann's (2006) notion of a 'triple articulation' of media to approach screens as technologies that carry a particular range of films. Here, films are understood as texts, and each screen a medium that provides opportunities to watch films in specific temporal and spatial contexts. We find that people tend to: (1) watch films at the cinema, either to socialise or to feel part of an temporary auditorium-based community -whilst immersing within the text; (2) on television sets in the living-room to relax or socialise; (3) on laptops or tablets in the bedroom for personalised engagement; and (4) via smartphones for convenience and to pass time when away from home. Overall, we argue that people's film-watching is embedded within specific contexts and that people choose particular screen types for the opportunities they offer for watching particular films in particular times and places. In this, people choose screen types and configure various temporal and spatial aspects of their film-watching environments to seek out specific viewing experiences.

show abstract

“…A ideia de rede -e aqui estão implicados tanto produtores, distribuidores, espectadores, desenvolvedores de software e hardware etc. -está intimamente ligada, para Wasson (2007), às características materiais das telas em que o cinema atualmente se apresenta. Vemos aqui, antes de tudo, como a ideia de um "cinema" atrelado a um dispositivo tradicional de sala escura, com um projetor escondido atrás da plateia e uma sessão de mais ou menos duas horas -em que se conta uma história narrativa clássica, com início, meio e fim -dá lugar a novas formas de fruição das imagens em movimento.…”

Section: Novas Telas E Redes Tecnológicasunclassified

“…O processo de subtração, proposto por Bergson (2006), tem nesse momento um ponto de tensão, em que aprendemos (ou reaprendemos) a que devemos ou não dar atenção, como devemos empregar nosso aparato perceptivo. Como diz Wasson (2007), a natureza distorcida e pouco clara das imagens online não esconde seu caráter racional e sistemático. Ao mesmo tempo, não abandona modelos tradicionais, criando, apesar disso, novas leituras de novas imagens.…”

Section: Novas Telas E Redes Tecnológicasunclassified

O cinema sensível: sensorialidades em pré e pós-cinemas

Castanheira

Erthal

2011

Fronteiras

View full text Add to dashboard Cite

revista Fronteiras -estudos midiáticos 13(2): 130-139, maio/agosto 2011 RESUMO A partir da análise de espaços comunicacionais que demandam e ocasionam mais estímulos sensoriais, este artigo se propõe a pensar sobre um novo cinema que se apropria de diversas tecnologias digitais e que está impregnado de novas materialidades, aproximandose conceitualmente do modelo dos primeiros cinemas (early cinemas) ou cinema de atrações. O formato do cinema de atrações era caracterizado pela ausência de uma narrativa linear, ausência de uma lógica de causa e efeito e o convite efetivo de participação e envolvimento da plateia. Assim como no novo cinema, os sentidos da audiência eram convocados sinestesicamente no cinema de atrações, oferecendo novas experiências de percepção e de consciência sobre a realidade.Palavras-chave: cinema digital, cinema de atrações, sensorialidades. ABSTRACTSensible cinema: Sensorialities in pre and post-cinemas. From the analysis of communicational spaces that demand and produce more sensory stimuli, this article proposes the idea of a new cinema that makes use of different digital technologies, which is full of new materialities, conceptually approaching the early cinemas or cinema of attractions. The cinema of attractions format was characterized by the absence of a linear narrative and a cause and effect logic, and the effective appeal of participation and involvement of the audience. As well as in new cinema, the audience's senses were synaesthetically summoned in cinema of attractions, offering new experiences of perception and consciousness of reality. -Você vai ao Cinema Sensível à noite, Henry?perguntou o Predestinador assistente. -Ouvi dizer que o novo programa do Alhambra é de primeira qualidade. Há uma cena de amor num tapete de pele de urso; dizem que é maravilhosa. Cada pelo do urso é reproduzido. Os mais admiráveis efeitos táteis. (Huxley, 1982, p. 58) Introdução Em seu romance Admirável mundo novo, Aldous Huxley detalha com minúcias como seria a experiência sensorial do cinema em uma cultura em que a sexualidade e a relação do homem com seu próprio corpo não seriam pautadas por um ou dois sentidos somente. Esses filmes, em vez de movies, eram chamados pelos personagens do O cinema sensível: sensorialidades em pré e pós-cinemas Vol. 13 Nº 2 -maio/agosto 2011 revista Fronteiras -estudos midiáticos 131 O cinema sensível: sensorialidades em pré e pós-cinemas Vol. 13 Nº 2 -maio/agosto 2011 revista Fronteiras -estudos midiáticos 137 O cinema sensível: sensorialidades em pré e pós-cinemas Vol. 13 Nº 2 -maio/agosto 2011 revista Fronteiras -estudos midiáticos 139

show abstract

3. The Networked Screen: Moving Images, Materiality, and the Aesthetics of Size

Cited by 23 publications

References 0 publications

The Gulliver effect: screen size, scale and frame, from cinema to mobile phones

The Gulliver effect: screen size, scale and frame, from cinema to mobile phones

Screen Choice: The Relations, Interactions and Articulations of Watching Film

O cinema sensível: sensorialidades em pré e pós-cinemas

Contact Info

Product

Resources

About