Reel Geopolitics: Cinemato-graphing Political Space

Power, Marcus; Crampton, Andrew

doi:10.1080/14650040590946494

Cited by 59 publications

(35 citation statements)

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“…Burgess & Gold, 1985;Cosgrove & Jackson, 1987;Dodds, 1996;Power & Crampton, 2005;Sharp, 2000). This overturning of the long-standing divide between "high" and "popular" cultures, or culture that is worthy of study and that which is not, is part of a larger shift in the humanities that has rippled through the higher-education establishment, legitimating the use of popular culture in the classroom.…”

Section: Popular Culture In the Geography Higher-education Classroommentioning

confidence: 94%

Immersive virtual worlds in university-level human geography courses

Dittmer

2010

International Research in Geographical and Environmental Educat

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Section: Popular Culture In the Geography Higher-education Classroommentioning

confidence: 94%

Immersive virtual worlds in university-level human geography courses

Dittmer

2010

International Research in Geographical and Environmental Educat

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“…The most amazing tactual effects'' (Aldous Huxley 1984in Paterson 2006 3-D cinema is a largely overlooked media within geographical critique. This paucity is notable given the sustained academic consideration afforded to other popular media, including, for example: newspaper cartoons (Dodds 1998(Dodds , 2010aFalah et al 2006), videogames (Ash 2009(Ash , 2010a(Ash , 2010b(Ash , 2012Ash and Gallacher 2011;Hughes 2010;Power 2007;Shaw 2010;Shaw and Sharp 2013;Shaw and Warf 2009;Stahl 2006), graphic novels (Holland 2012), comic books (Dittmer 2005(Dittmer , 2007, radio (Pinkerton and Dodds 2009), magazines (Sharp 2000), journalism (Pinkerton 2013), and film (Aitken and Dixon 2006;Carter and Dodds 2011;Carter and McCormack 2006;Dittmer 2011;Dittmer and Dodds 2013;Dodds 2010b;Lukinbeal andZimmermann 2006, 2008;Pile 2011;Power and Crampton 2005;Shapiro 2009;Sharp 1998).…”

Section: Introductionmentioning

confidence: 97%

3-D cinema: immersive media technology

Jackman

2015

GeoJournal

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3-D cinema is a largely overlooked media within geographical critique. This omission is notable given both the sustained academic consideration afforded to other popular media, the medium's significant commercial and popular success, and its status as an 'affective' and captivating storytelling medium. With reference to film industry advertisements, the experiential dimensions of the 3-D cinematic encounter and its (popular) framing as an 'immersive' consumer experience are explored. In particular, the notion of 'immersion' is unpacked with reference to the medium's engineering and production techniques. In so doing, the intertwinement of the industrial desire for ever more 'immersive' and 'realistic' consumer experience is explored in relation to the engineering techniques exhibiting perceptual mimicry, or what could be termed 'mimetic engineering'. The association between 3-D cinema and 'tactile' images is then explored with reference to geographic literatures on 'haptics' and technologies of touch. A number of recent 'innovations' in these fields are drawn upon in order to complicate 3-D cinema's association with 'tactility'. In so doing, a technological shift towards the increasingly pervasive and sophisticated engagement of the wider multi-sensory palette is explored. Drawing upon recent media technology 'innovations', this persistent and relentless desire for ever more 'immersive' and perceptuallyconvincing media technology is explored in light of developing media geographies.

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“…Recent work in popular geopolitics has sought to understand the impact of popular culture on the geopolitical imaginations of everyday people, whether in the form of newspapers (Dittmer 2005b(Dittmer , 2007bMcFarlane and Hay 2003;Myers et al 1996), cinema (Carter and McCormack 2006;Dodds 2003Dodds , 2005Power and Crampton 2005), journalistic cartoons (Dodds 1996(Dodds , 2007Falah et al 2006), magazines (Sharp 1996), or comic books (Dittmer 2005a(Dittmer , 2007a. This work has tended to be overly interested in representations found within the text (a critique provided, among other places, in Dittmer and Larsen 2007;Dodds 2006), emphasizing the role of textual producers in creating a dominant meaning for the text and marginalizing the role of audiences in the process of interpretation and meaning-making.…”

Section: Introductionmentioning

confidence: 99%