.... The chapter contends that feelings of contradictoriness and rebellion can also be found in the narrative but are often overlooked in favour of the special effects, it posits that it may be through both that the film is able to speak so powerfully to childhood experience. Bibliography Brown, Noel...

... Rachel Nagaiah Chittoor V Potana Rama Rao N T Reddy K V viewership of cinema language and identity Mahatma Vidur filmindia sati films cinema fan identities Nagarjuna Rao K Raghavendra pornographic film habitus concept of film technology special effects anthropology of film discipline...

... Hollywood Reporter Levinson Barry animation digital immersion spectator simulation special effects FBI CIA cover-up The Congress (2013), an indie backstudio that is half live action and half animation, pushes further the premise of S1m0ne (2002). Whereas...

... the 1980s, including the emergence of fan magazines, such as Fangoria increased acknowledgement of special effects makeup artistry, and the VHS explosion. However, this chapter notes that this new visibility led to critical attention and subsequent opprobrium which has had long lasting effects on more...

... magic right to privacy special effects technological reproduction the uncanny In 1913, the German film industry released two “photoplays,” which are often described as the first German “art films.” ¹ Both movies, Hanns Heinz Ewers’s The Student of Prague and Max Mack’s...

...With the return of the historical epic to our screens, advances in CGI and digital effects have allowed for even greater (and sometimes cheaper) special effects to return along with them. Matte paintings have given way to blue- and green-screen, models cede to CGI in post-production and casts...

...In this chapter, Paul Wells argues that the literal and metaphorical developments of animation in the twenty-first century allow ‘virtual histories’ to be constructed from the subjective and relative contexts of the contemporary period. He examines special effects in animations and controversial...

...Chapter 3 covers mise-en-sc è ne, specifically examining Sets and Settings, Blocking and Direct Address, Special Effects, and Animation: all that the frame contains within its physical and visible parameters to create signifying, ideologically imbued images. As the commercial’s mise-en-scène...

...This chapter discusses studio-era special effects from the 1930s to the 1960s, and 1970s special effects. The studio era had mostly been concerned with maintaining the more naturalistic “classical” style. Most importantly, special effects in the studio era were achieved as simply, economically...

...This chapter examines auteurism and special effects-driven blockbuster filmmaking. Auteurism, an approach to mid-century filmmaking in which a film reflects the director's personal creative vision, was initiated by French critics and filmmakers such as André Bazin and Alexandre Astruc, François...

...This concluding chapter discusses the legacy of the 1970s special effects. Special effects technology enabled filmmakers to provide alternate world possibilities, prompting moviegoers to think about the world's transformation or alteration. Recent critics' dislike for excessive use of computer...

...This chapter talks about the special effects of The Thing. It defines Body Horror and explores its antecedents beyond filmic reference points. The chapter identifies the four key players of the film's special effects: Dale Kuipers, Mentor Huebner, Mike Ploog and Rob Bottin...

...This chapter details the process of remaking The Fly. Strip out all the special effects from The Fly and you've got a singularly focused and somewhat forthright drama, heavily driven by dialogue with just the occasional set and location change. But add...

... Boulevard Wilder Billy Rawlins Phil Bonnie and Clyde Fernández Emilio Carrere Edward Gonzalez Chalo Jones L Q Martin Strother Hacienda Cienega del Carmen Peckinpah Wild Bunch script Lucien Ballard violence special effects From the moment of its release in 1969, Sam Peckinpah’s...

... scientifilm Gernsback special effects adaptation H. G. Wells The extent to which film had become incorporated into pulp fiction’s narratives—as context, subject matter, and visual inspiration—becomes especially apparent when we consider another sort of internal discourse in which the magazines’ readers...

...This introduction lays out the case for approaching special effects from a transmedia standpoint, focusing on the unexpected roles they play in building and maintaining the storyworlds of fantastic media franchises and redefining traditional notions of media authorship, performance, and genre...

... in the same decade. These imported “megamusicals,” featured lavish spectacle, special effects, cookie-cutter casting, and booming, pop-rock soundscapes. By contrast, Tune’s shows were simple, elegant, and filled with unique personalities (including Tune himself). The special effects in a Tommy Tune show were...

...Featuring previously unpublished material alongside famous plays,this pioneering edition provides access to some of the most popular plays of the nineteenth century. Characterised by exhilarating plots, large-scale special effects and often transgressive characterisation, these dramas are still...

..., in this day and age, in several critics' discussion of the film. The attractional effect produced by special effects, undermining the narrative economy parallels the tension between the homochrone and the heterochrone. In cinema, the homochrone reinforces the overloading of the special effect, in which...

... Studio Bong Dern Telephones Xbox machinima voice cinema computer games virtual reality natural voice special effects image theater animation Machinima is defined by Hugh Hancock (a machinima director and, more recently, the author of Machinima for Dummies) as “a technique...