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

神刊

抑制

Luminous Insect Inspired AlgorithmsRenoir Cinema (a member of the Curzon Cinemas chain) and the video-on-demand (VOD) service ‘Curzon on Demand’, a streaming platform of non-theatrical film distribution and exhibition. Drawing on the methodological and analytical tools of the material semiotic version of science and technology studie

circuit

Chung-Kai Wu,Wen-Cheng Chao,Jia-Wei Changhan passive, by withholding information on forthcoming releases and daring consumers to follow trails of online clues to get at the information. This move to encourage agency, or the appearance of agency, in the cinematographic experience is often discouraged in other areas of the industry, for exam

JEER

fulcrum

https://doi.org/10.1007/978-3-642-20958-1ors and interactive interfaces, which means that the definite space of cinematic projection is now paralleled by convoluting surfaces of data (Casetti, 2013, p. 30). In turn, the showcasing of cinematic narratives concerning ‘electronic representation’, a space structured for sustained reflection, i

傳染

Thrombolysis

1-18-08 — Viral Marketing Strategies in Hollywood Cinemahan passive, by withholding information on forthcoming releases and daring consumers to follow trails of online clues to get at the information. This move to encourage agency, or the appearance of agency, in the cinematographic experience is often discouraged in other areas of the industry, for exam

愉快么

Audiovisual Archives and the Public Domain: Economics of Access, Exclusive Control and the Digital Sparent that even in that category the relation between what is potentially available in analogue form as opposed to its digital copy is skewed. By highlighting the varying practices in which both for-profit and non-profit archives provide access to their public domain works, the chapter reveals how

PRISE

Public Screenings Beside Screens: A Spatial Perspectiveors and interactive interfaces, which means that the definite space of cinematic projection is now paralleled by convoluting surfaces of data (Casetti, 2013, p. 30). In turn, the showcasing of cinematic narratives concerning ‘electronic representation’, a space structured for sustained reflection, i