Cinema and New Media: New Forms and Platforms

Course Syllabus
Academic Year: Semester 1 AY2012-13
Study Year (if applicable): Year 3-4
Course Code: CS9096
Academic Unit: 4AU
Pre-requisite: No
Instructor/Tutor: Dr. Jihoon Kim
RM02-08, WKWSCI Building
Office hours: 13:00-15:00, Wednesdays by appointment
Email: kimjh@ntu.edu.sg
Schedules and Venues:
Lectures: Tuesdays 17:00-20:30, Lee Foundation Lecture Theatre (1st Floor of SCI)
Tutorials: Wednesdays 11:00-12:00, CS-TR2 (1st Floor of SCI)

Course Description and objectives

This survey-type course for upper-level students aims to examine the multidimensional
impacts of digital media technologiescomputer-generated imagery, digital video, video
games, theme parks, virtual reality simulators, IMAX, DVDs, portable screen interfaces,
Youtube, social media, etc.on the production and reception of cinema. Through
discussion, reading, screening, and different writing practices, students will learn both
the specificities of these technologies and their relation to old media forms and images
by intersecting the various concepts and methodologies developed within cinema
studies, media studies, art history, and cultural studies.
Learning Objectives:
The objectives of this course are, firstly, to scrutinize the new forms of contemporary
films made over the last two decades, and secondly, to understand a variety of
aesthetic, cultural, and social experiences promoted by the new digital platforms. Topics
include digital visual effects, spectacle and narrative, immersive visual apparatuses and
entertainments, virtual actor, complex narrative films, DV filmmaking around the globe,
new forms of documentary and experimental film, viewing experiences outside the
theatre, participatory culture, and user-generated contents.

Course Organization:
The course is divided into three parts according to the different characteristics of new
media and how they dynamically affect the current ontology of cinema. Each part
accords with different types of the assignments that students will conduct.
Part

Week

Title

Part 1
Part 2
Part 3

Week 1-3
Week 4-6
Week 7-10

A Short Introduction to Digital Cinema and Media

Digital Visual Effects and Spectacular Narrative Cinema
Genres and Aesthetics of Digital Filmmaking

Part 4
Wrap-up

Week 11-12
Week 13

Media Changes and Shifting Spectatorships

Final Paper Proposal

Assigned Texts
As this course will be drawing reading materials from a diverse range of sources, there
will be no required textbook. Relevant readings (both required and recommended) for
each session will be uploaded in PDFs onto the course website in the universitys
Edventure.
Assignment Components
The final grade for the course will be determined as follows:
1. Participation: 10% (class participation: 5%, online postings: 5%)
2. Discussion Leading: 15%
3. Two Film Reviews (15 percent each): 30%
4. Field Survey: 10%
5. Final Paper: 35%
The Continuous Assessment (CA) comprises 70% (component 1 to 4) and the
examination 30% of the final mark. The CA is based on performance in and out of class
and assignments.
1. Online Postings (5%): Students are strongly encouraged to post your response to
each main film, supplementary film clips (both shown or not shown in the lecture), and
discussion topics intermittently raised by the instructor or tutor. The postings will be
mainly made in the Facebook page of the course, but students will post in the
edveNTUres discussion board if they are willing to write a longer response to the
screened film, or are asked to engage in the discussion topics.
2. Discussion Leading (15%)
Each student (or a group of two students) is required to lead a 20-minute discussion that
will take place on a regular basis from the Week 2 tutorial and onwards. He (or the
group) will be responsible for summarizing key arguments of the required texts for the
designated week (for instance, readings in Week 2 for the discussion in each week, and
covering recommended readings by the leader will be highly encouraged) in relation to
the film(s) screened, and raising issues that other students will engage for discussion.
The student (or the group) will be able to consult the instructor in order to gain
suggested discussion topics related to the readings and the film.
3. Two Film Reviews (15% each): 30%
In relation to Part 2 and 3, you will write two 4-5-page film reviews (times new roman 12
point, double-spaced, and with each margins size one inch) on a film related to the
themes of Part 2 (spectacular cinema) and 3 (non-spectacular digital films) respectively.
The range of films includes not merely films screened or partly presented in the
corresponding lectures, but also other films that you think are relevant to any lecture
theme in Part 2 and 3. You are required to present how you understand key techniques
and film languages, and to make your own arguments on the topics covered in the
review, by examining and citing at least two readings of the lectures.
The deadline for the first review is 21 Sep (Fri), and for the second review is 26 Oct
(Fri). Submissions on soft copy (via email) are allowed.

* For the review assignments, students should pick up a film that they will not deal with
in their own discussion leading. For instance, if a student will lead a discussion on the
topics of Week 2, he or she is not allowed to select the main film screened in the weeks
lecture.
4. Field Survey: 10%
In relation to the themes of Part 4, you will write one 500-word survey report on one of
the post-theatrical forms of film experience (viewing with the DVD or the portable screen
interface, fan fiction, Machinima, online video, Second Life, film blogging/videologging,
etc.). In your report, you will answer the following questions. What cinematic experiences
or pleasures are extended to your experience of the form you chose? Does this form
make any change in your previous experience of a film, including your identification with
its story or character, or your memory about it? In what ways do you define your
experience of the form as participatory? In doing so, you must cite at least two
readings of the related sessions.
The deadline for the field survey via email is 9 Nov (Fri).
5. Final Paper: 35% (proposal: 5%, paper: 30%)
You will submit a 3,000-word final paper (times new roman 12 point, double-spaced, and
with each margins size one inch) that examines either a single film or a small sampling
of films in terms of the (formal, narrative, industrial, spectatorial, or technical) relationship
between cinema and new media. Though you are allowed to choose any film (regardless
of whether it was shown in the class or not), the papers topic must be concerned with
one of four parts of the lectures (Digital Media, Special Effects Cinema, DV Filmmaking,
and Shifting Spectatorships). In your paper, you must cite at least six scholarly sources
(books or articles), while you may need to draw on specific web pages or online sources.
Only four of the sources may be from the required and recommended readings assigned
in this course. The other sources must be ones from the additional bibliography, or ones
that you find in the library or elsewhere.
Youre asked to submit a 250-word proposal along with bibliography, in which you will
offer your papers key arguments, frameworks or methodologies, and objects of analysis.
The deadline for proposals submitted by email is 12 Nov (Mon), and the deadline
for final papers (only on hard copy) is 23 Nov (Fri).
.
* Students who will write selected outstanding papers will be encouraged to submit them
to Film Matters (http://www.intellectbooks.co.uk/journals/view-journal,id=187/), an
international journal for undergraduate film scholars, under the instructors guidance.
* For all the writing assignments, students must consult one of the three proper
citation styles based on research using source materials
- MLA (Modern Language Association) Style:
http://owl.english.purdue.edu/owl/resource/747/01/
- APA Style: http://owl.english.purdue.edu/owl/section/2/10/
- Chicago Manual Style: http://www.chicagomanualofstyle.org/home.html
* All late submissions will be penalized (a discount of one grade will be reflected on
your net grade per day).

Learning Outcomes
The major outcomes of this survey-type course on the relationships between cinema and
new media are:
- To learn conceptual frameworks for thinking through new media technologies, and to
lay the groundwork for clear understanding of how they work within and in tune with
various dimensions constituting cinema, such as production, post-production, distribution
and reception, and histories.
- To understand the changing landscape of cinematic ontology both within and outside
the theatre, by paying attention to theatrical cinema on the one hand, and to forms of
audiovisual experience that are derived from new media on the other.
- To refine an understanding of critical and theoretical terms used for referring to
categories and forms of new media
- To examine changes and continuities in cinema within contemporary mediascape via
historical, formal, aesthetic, and cultural approaches.
- To investigate how existent concepts from film theory, cultural studies, media studies,
and visual culture studies, such as realism, illusion, spectatorship, screen, montage,
gaze, etc., help illuminate the constitution and operation of new media, and to study how
such concepts can be used in dialogue with new concepts inspired by it.

Course Schedule

Part 1: A Short Introduction to Digital Cinema and Media (3 Weeks)

Date

Topic

Screening

Tutorial

Week 1
(14/15
Aug)

Opening the Debate:

Cinema after Film?

Excerpt from
Film Socialisme
(Jean-Luc Godard,
2010)

Introducing yourself;
forming groups (if
applicable)

Level 5 (Chris
Marker, 1997,
104min.)

Readings:

Discussion on Week1
Readings and Film

Godfrey Cheshire, The Death of Film/The Decay of Cinema, New York Press, Dec.
30, 1999
Anne Friedberg, The End of Cinema: Multimedia and Technological Change,
Reinventing Film Studies, eds. Christine Gledhill and Linda Williams (London:
Arnold, 2000), pp. 438-452.

Week 2
(21/22
Aug)

What is New Media and

Digital Visual Culture?

The Russian Ark

(Alexander Sukorov,
2002, 99 min.)

Discussion on Week 2
Readings and Film

Lev Manovich, Principles of New Media, What New Media is Not, The Language of
Readings: New Media (Cambridge, MA: MIT Press, 2001), pp. 27-61.
Jay David Bolter and Richard Grusin, Immediacy, Hypermediacy, and Remediation,
Remediation: Understanding New Media (Cambridge, MA: MIT Press, 1999), pp. 2050.

Realer than Real: The

Jurassic Park (Steven Discussion on Week 3
Week 3
Ontology of the Digital
Spielberg, 1993, 127
Readings and Film
(28/29
Image
min.)
Aug)

Stephen Prince, True Lies: Perceptual Realism, Digital Images, and Film Theory,
Readings: Film Quarterly, Vol. 49, No. 3 (1996), pp. 27-37.
Warren Buckland, Realism in the Photographic and Digital Image, Studying
Contemporary American Cinema: A Guide to Movie Analysis, eds. Thomas Elsaesser
and Warren Buckland (London: Arnold Publishers, 2002), pp. 195-219.

Part 2: Digital Effects and the Spectacular Narrative Cinema (3 Weeks)

Date

Topic

Screening

Tutorial

Week 4
(4/5
Sep)

Digital Visual Effects:

Compositing New Narrative
Space

The Day after

Tomorrow
(Roland Emmerich,
2004, 124 min.)

Discussion on Week 4
Readings and Film

Dan North, The Computer, Performing Illusions: Cinema, Special Effects and the
Readings: Virtual Actor (London: Wallflower Press, 2008), pp. 116-147.
Aylish Wood, Timespaces in Spectacular Cinema: Crossing the Great Divide of
Spectacle and Narrative, Screen, Vol. 43, No. 4 (Winter 2002), pp. 370-386.

Week 5
(11/12
Sep)

Virtual Sensations: Games,

Rides, and the Cinema of
Attraction

Hugo
(Martin Scorsese,
2011, 126 min.)

Discussion on Week 5
Readings and Film

Readings: Manovich, The Screen and the User, Navigable Space, The Language of New
Media, pp. 94-115, 244-285.
Ndalianis, Angela, Special Effects, Morphing Magic, and the 1990s Cinema of
Attraction, Meta-Morphing: Visual Transformation and the Culture of QuickChange, ed. Vivian Sobchack (Minneapolis and London: University of Minnesota
Press, 2000), pp. 251-271.

Week 6
Virtual Bodies and the
The Polar Express
Discussion on Week 6
(18/19
Blurring of Cinema and
(Robert Zemeckis,
Readings and Film
Sep)
Animation
2004, 100 min.)

Readings: J. P. Telotte, Digital Effects Animation and the New Hybrid Cinema, Animating
Space: From Mickey to Wall-E (Lexington, KY: The University Press of Kentucky,
2010), pp. 222-251.
Jessica Aldred, From Synthespian to Avatar: Re-framing the Digital Human in Final
Fantasy and The Polar Express, Mediascape, Winter 2011,
http://www.tft.ucla.edu/mediascape/Winter2011_Avatar.html

Part 3: Genres and Aesthetics of Digital Video Filmmaking (4 Weeks)

Date

Topic

Screening

Tutorial

Week 7
(25/26
Sep)

DV Features: The Pursuit

of Authenticity Across the
Globe

Ten (Abbas
Kiarostami, 2002, 91
min.)

Discussion on Week 7
Readings and Film

Readings:

Holly Willis, The Future of the Feature, New Digital Cinema (London: Wallflower
Press, 2005), pp. 19-45.
Adam Ganz and Lina Khatib, Digital Cinema: The Transformation of Film Practice
and Aesthetics, New Cinemas: Journal of Contemporary Film, Vol. 4, No. 1
(2006), pp. 21-36.

Week 8
(9/10

Documentarys Expanded
Fields

Waltz with Bashir

(Ari Folman, 2008,
90 min.)

Discussion on Week 8
Readings and Film

Oct)
Readings:

Ohad Landesman, In and Out of This World: Digital Video and the Aesthetics of
Realism in the New Hybrid Documentary, Studies in Documentary Film, Vol. 2,
No. 1 (2008), pp. 33-45.
Kate Nash, Modes of Interactivity: Analyzing the Webdoc, Media, Culture, and
Society, Vol. 34, No. 2 (2012), pp. 195-210.

Week 9
(16/17
Oct)

Experimental Filmmaking
in the Digital Age: from
Single-channel works to
Media Installation

Monster Movie
(Takeshi Murata,
2005, 4 min.)

Discussion on Week 9
Readings and Films

Selections from Lynn

Marie Kirbys Latent
Light Excavation
series

Readings:

Return to the Scene

of the Crime (Ken
Jacobs, 2008, 93
min.)
Malcolm Turvey, Ken Jacobs: Digital Revelationist, October 137 (Summer 2011),
pp. 107-124.
Manovich, After Effects or the Velvet Revolution, Millennium Film Journal, Nos.
45/46 (Fall 2006), pp. 5-19.
Raymond Bellour, Of An Other Cinema, Art and the Moving Image: A Critical
Reader, ed. Tanya Leighton (London: Tate Publishing, 2008), pp. 406-422.

Inception
(Christopher Nolan,
2010, 148 min.)

Week 10
(23/24
Oct)

Chaos Aesthetics: The

Emergence of Complex
Films

Discussion on Week 10
Readings and Film

Readings:

Thomas Elsaesser, Mind-Game Films, Puzzle Films: Complex Storytelling in

Contemporary Cinema, ed. Warren Buckland (London: Wiley-Blackwell, 2009), pp.
13-41.
Marsha Kinder, Designing a Database Cinema, Future Cinema: the Cinematic
Imaginary After Film, eds. Peter Weibel and Jeffrey Shaw (Cambridge, MA: MIT
Press, 2003), pp. 346-353.

Part 4: Media Changes and Shifting Spectatorships (2 Weeks)

Date

Topic

Screening

Tutorial

Week 11
(30/31
Oct)

DVDs and Portable

Screens: Post-theatrical
Experiences

Zidane: A 21-Century
Portrait (Douglas
Gordon and Philippe
Parreno, 2006, 90

Discussion on Week 11
Readings and Film

min.)

Readings:
Barbara Klinger, The Contemporary Cinephile: Film Collecting after the VCR,
Beyond the Multiplex: Cinema, New Technologies, and the Home (Berkeley, CA:
University of California Press, 2006), pp. 54-90.
Francesco Casetti, Back to the Motherland: The Film Theatre in the Postmedia Age,
Screen, Vol. 52, No. 1 (2011), pp. 1-12.

Week 12
(5/6
Nov)

Fan Production,
Machinima, Youtube,
Mashups: the Poetics of
Participatory Forms

Rehearsals for
Retirement (Phil
Solomon, 2007),

Discussion on Week 12
Readings and Film

The French
Democracy (Alex
Chan, 2005)
LOuvroir (Marker,
2009, video clip
made with Second
Life)

Readings:

Henry Jenkins, Quentin Tarantinos Star Wars?: Digital Cinema, Media

Convergence, and Participatory Culture, Rethinking Media Change: The Aesthetics
of Transition, ed. David Thorburn and Henry Jenkins (Cambridge, MA: MIT Press,
2004), pp. 281-312.
Henry Lorwood, High-performance Play: The Making of Machinima, Journal of
Media Practice, Vol. 7, No. 1 (2006), pp. 25-42.
Chuck Tyron, Hollywood Remixed: Movie Trailer Mashups, Five Second Movies,
and Film Culture, Reinventing Cinema: Movies in the Age of Media Convergence
(New Brunswick, NJ: Rutgers University Press, 2009) pp. 149-172.

Wrap-up

Date

Topic

Screening

Tutorial

Week 13
(Nov
13/14)

No Class: Deepavali
Holiday

No screening

No Tutorial:
Each student will
individually meet the
instructor and obtain his
comments and suggestions
on his/her final paper
proposal
(Appointments will be
determined later)

Readings:
No Readings

10

Additional Bibliography for Recommended Readings

Week 1
Elsaesser, Thomas, Digital Cinema: Delivery, Event, Time, Cinema Futures: Cain, Abel
or Cable? The Screen Arts in the Digital Age, eds. Elsaesser and Kay Hoffmann
(Amsterdam, The Netherlands: Amsterdam University Press, 1998), pp. 201-222.
Belton, John, Digital Cinema: A False Revolution, October, Vol. 100 (Spring 2002), pp.
98-114.
Spielmann, Yvonne, Visual Forms of Representation and Simulation: A Study of Chris
Markers Level 5, Convergence: The International Journal into Research into
New Media Technologies, Vol. 6, No. 2 (2000), pp. 18-40.
Jovanovic, Stefan, The Ending(s) of Cinema: Notes on the Recurrent Demise of the
Seventh Art, Offscreen (online journal, 2003), online at
http://www.horschamp.qc.ca/new_offscreen/death_cinema.html
Week 2
Binkley, Timothy, Digital Dilemmas, Leonardo. Supplemental Issue, Vol. 3 (1990), pp.
13-19.
Darley, Andrew, Genealogy and Tradition: Mechanized Spectacle as Popular
Entertainment, Visual Digital Culture: Surface Play and Spectacles in New
Media Genres (New York and London: Routledge, 2000), pp. 37-57.
Hansen, Mark B.N., Introduction and Chapter 1, New Philosophy for New Media
(Cambridge, MA: MIT Press, 2004), pp. 1-45.
Lister, Martin, et al. excerpts from chapter 1 (New Media and New Technologies), New
Media: A Critical Introduction, 2nd edition, (Routledge, 2009), pp. 10-45.
Week 3
Rosen, Philip, Old and New: Image, Indexicality, and Historicity in the Digital Utopia,
Change Mummified: Cinema, Historicity, Theory (Minneapolis: University of
Minnesota Press, 2001), pp. 301-349.
Rodowick, D. N., Paradoxes of Perceptual Realism, Real is as Real Does, Lost in
Translation: Analogy and Index Revisited, The Virtual Life of Film, (Cambridge,
MA: Harvard University Press, 2007), pp. 99-124.
Prince, Stephen, The Emergence of Filmic Artifacts: Cinema and Cinematography in the
Digital Age, Film Quarterly, Vol. 57, No. 3 (2004), pp. 24-33.
Doane, Mary Ann, The Indexical and the Concept of Medium Specificity, Differences:
A Journal of Feminist Cultural Studies, Vol. 18, No. 1 (2007), pp. 128-152.
Week 4
Cubitt, Sean, Digital Filmmaking and Special Effects, The New Media Book, ed. Dan
Harries (London: British Film Institute, 2008) pp. 17-29.

11

Bordwell, David, Intensified Continuity: Visual Style in Contemporary American Film,

Film Quarterly, Vol. 55, No. 3 (Spring 2002), pp. 16-28.
King, Geoff, Spectacle, Narrative, and the Spectacular Hollywood Blockbuster, Movie
Blockbusters, ed. Julian Stringer (New York and London: Routledge, 2003), pp.
114-127.
Pierson, Michele, The Wonder Years and Beyond, Special Effects: Still in Search of
Wonders (New York: Columbia University Press, 2002), pp. 93-136.
Week 5
Bukatman, Scott, The Ultimate Trip: Special Effects and Kaleidoscopic Perception,
Matters of Gravity: Special Effects and Superman in the 20th Century (Durham
and London: Duke University Press, 2003), pp. 111-130.
Ross, Miriam, Spectacular Dimensions: 3D Dance Films, Sense of Cinema 61 (2011),
online at http://www.sensesofcinema.com/2011/feature-articles/spectaculardimensions-3d-dance-films/.
Will Brooker, Camera-Eye, GC-Eye: Videogames and the Cinematic, Cinema
Journal, Vol. 48, No. 3 (2009), pp. 122-128.
Crogan, Patrick, Logistical Space: Flight Simulators and the Animation of Virtual
Reality, Gameplay Mode: War, Simulation, and Technoculture (Minneapolis,
MN: University of Minnesota Press, 2012), pp. 37-58.
Week 6
Allison, Tanine, More than a Man in a Monkey Suit: Andy Serkis, Motion Capture, and
Digital Realism, Quarterly Review of Film and Video 28 (2011), pp. 325-341.
Brown, William, Beowulf: The Digital Monster Movie, Animation: An
Interdisciplinary Journal, Vol 4, No. 2 (2009), pp. 153-168.
Darley, Andrew, Simulation and Hyperrealism: Computer Animation and TV
Advertisement, Visual Digital Culture, pp. 81-101.
Manovich, Lev, Image Future, Animation: An Interdisciplinary Journal, Vol. 1, No. 1,
pp. 25-44.
Week 7
Munt, Alex, Digital Kiarostami and the Open Screenplay, Scan: The Journal of Media
Arts and Culture (Online), Vol. 3, No. 2 (October 2006), available at
http://scan.net.au/scan/journal/display.php?journal_id=74
Geuens, Jean-Pierre, The Digital World Picture, Film Quarterly, Vol. 55, No. 4
(Summer 2002), pp. 16-27.

12

Levin, Thomas Y., Rhetoric of the Temporal Index: Surveillant Narration and the
Cinema of Real Time, CTRL [SPACE]: Rhetorics of Surveillance from Bentham
to Big Brother, eds. Thomas Y. Levin, Ursula Frohne, and Peter Weibel
(Cambridge, MA: MIT Press, 2002), pp. 578-593.
Rombes, Nicholas, DV Humanism, Real Time, Undirected Films, Cinema in the
Digital Age (London: Wallflower Press, 2009), pp. 25-30, 84-89, 132-139.
Week 8
Wang, Yiman, The Amateurs Lighting Rod: DV Documentary in Postsocialist China,
Film Quarterly, Vol. 58, No. 4 (Summer 2005), pp. 16-26.
Tess Takahashi, Experiments in Documentary Animation: Anxious Borders, Speculative
Media, Animation: An Interdisciplinary Journal, Vol. 6, No. 3 (2011), pp. 231245.
Tyron, Chuck, Digital Distribution, Participatory Culture, and the Transmedia
Documentary, Jump Cut, No. 53 (Summer 2011), online at
http://www.ejumpcut.org/currentissue/TryonWebDoc/text.html
Nichols, Bill, What Types of Documentary Are There, Introduction to Documentary
(Bloomington, IN: Indiana University Press, 2001), pp. 99-138.

Week 9
Anderson, Steve F., Aporias of the Digital Avant-garde, Digital Humanities Quarterly,
Vol. 1, No. 2 (Summer 2007), online at
http://digitalhumanities.org/dhq/vol/1/2/000011/000011.html
Turvey, Malcolm et al., Round Table on Digital Experimental Filmmaking, October 137
(Summer 2011), pp. 51-68.
Le Grice, Malcolm, Digital Cinema and Experimental Films- Continuities and
Discontinuities, Experimental Cinema in the Digital Age (London: BFI
Publishing, 2001), pp. 310-324.
Horwatt, Eli, A Taxonomy of Digital Video Remixing: Contemporary Found Footage
Practice on the Internet, Cultural Borrowings: Appropriation, Reworking,
Transformation, ed. Iain Robert Smith, Scope: 10th Anniversary Special Issue
(2010), pp. 76-91.
Week 10
Bordwell, David, Film Futures, Substance, Vol. 31, No. 1 (2002), pp. 88-104.
Daly, Kristen, Cinema 3.0: The Interactive-Image, Cinema Journal, Vol. 50, No. 1 (Fall
2010), pp. 81-98.
Cameron, Allan, Contingency, Order, and the Modular Narrative: 21 Grams and
Irreversible, The Velvet Light Trap 58 (2006), pp. 65-78.

13

Thanouli, Eleftheria, Narration in World Cinema: Mapping the Flows of Formal

Exchange in the Era of Globalization, New Cinemas: Journal of Contemporary
Film, Vol. 6, No. 1 (2008), pp. 5-15.
Week 11
Skopal, Pavel, The Adventure Continues on DVD: Franchise Movies as Home Video,
Convergence: The International Journal of Research into New Media
Technologies, Vol. 13, No. 2 (2007), pp. 185-198.
Mulvey, Laura, Passing Time, Death 24x a Second: Stillness and the Moving Image
(London: Reaktion Books, 2006), pp. 17-32.
Verhoeff, Nanna, Theoretical Consoles: Concepts for Gadget Analysis, Journal of
Visual Culture, Vol. 8, No. 3 (2009), pp. 279-298.
Richardson, Ingrid, Faces, Interfaces, Screens: Relational Ontologies of Framing,
Attention and Distraction, Transformations 18 (2010),
http://www.transformationsjournal.org/journal/issue_18/article_05.shtml
Week 12
Nitsche, Michael, Machinima as Media, The Machinima Reader, eds. Henry Lowood
and Michael Nitsche (Cambridge, MA: MIT Press, 2011), p. 113-126.
Shefrin, Elana, Lord of the Rings, Star Wars, and Participatory Fandom: Mapping New
Congruencies Between the Internet and Media Entertainment Culture, Critical
Studies in Media Communication, Vol. 21, No. 3 (September 2004), pp. 261-281.
Li, Jinying, From D-Buffs to the D-generation: Piracy, Cinema, and an Alternative
Public Space in Urban China, International Journal of Communication 6 (2012),
pp. 542-563.
Burgess Jean, and Joshua Green, The Entrepreneurial Vlogger: Participatory Culture
Beyond the Professional-Amateur Divide, The YouTube Reader, eds. Pelle
Snickars and Patrick Vonderau (Stockholm, Sweden: National Library of Sweden,
2009), pp. 89-107.
Andrejevic, Mark, Exploring YouTube: Contradictions of User-generated Labor, The
Youtube Reader, pp. 406-423.

14