Angela Ndalianis

De digitale verdeners (vid)under

Publisher: Det Kgl. Bibliotek/Royal Danish Library

Date: 05-09-2003

DOI: 10.7146/MEDIEKULTUR.V19I36.1239

Abstract: I tidens blockbusterfilm spiller digitale special effects en stadig større rolle. Fra at have været et ‘usynligt’ redskab, der muliggjorde impone- rende stunts som bussen, der flyver over et hul i motorvejen i Speed, har digitale effekter erobret hovedrollen. Siden den morfende termi- nator i Terminator 2: Judgment Day og de realistiske dinosaurer i Jurassic Park har digitale elementer opnået en stjernestatus, der ofte overgår skuespillernes. Således er den digitale Gollum i Lord of the Rings: The Two Towers mere troværdig end de øvrige ‘fysiske’ stjer- ner. De amerikanske blockbusterfilm, der anvender en iøjnefaldende brug af digital æstetik, er ofte science fiction- og fantasy-film, der af den kritiske teori har været anset for “usundt slik for øjet.” Forfatteren viser, hvordan filmens digitale undere kan sættes i relation til Rene Descartes’ tanker om underet/det vidunderlige, der hensætter tilsku- eren i en æstetisk undren, der fører til en intellektuel trang til forståelse (som første gang stjernesystemet lod sig se i en kikkert). Samme und- ren bliver hos Blaise Pascal en ’afgrund’ (une abîme), der indgiver ære- frygt og fører os til det religiøse og mystiske, til overvejelser over natu- rens undere og Guds natur. Det digitale liv er ikke blot æstetik det får sit eget, uforudsigelige liv - som de digitale figurer i The Two Towers der er programmeret til at slås, men foretrækker at flygte, og derfor må re- programmeres. Det digitale liv udfordrer os med intet mindre end over- vejelser over naturens orden, menneskets natur, teknologiens rolle, livet, døden og fremtiden.

Introduction to Part 2

Publisher: BRILL

Date: 2017

DOI: 10.1163/9789004324350_009

The Routledge Companion to Gender and Sexuality in Comic Book Studies

Publisher: Routledge

Date: 17-08-2020

DOI: 10.4324/9780429264276

Why Do Phage Play Dice?

Publisher: American Society for Microbiology

Date: 15-11-2009

DOI: 10.1128/JVI.01057-09

Abstract: Phage lambda is among the simplest organisms that make a developmental decision. An infected bacterium goes either into the lytic state, where the phage particles rapidly replicate and eventually lyse the cell, or into a lysogenic state, where the phage goes dormant and replicates along with the cell. Experimental observations by P. Kourilsky are consistent with a single phage infection deterministically choosing lysis and double infection resulting in a stochastic choice. We argue that the phage are playing a “game” of minimizing the chance of extinction and that the shift from determinism to stochasticity is due to a shift from a single-player to a multiplayer game. Crucial to the argument is the clonal identity of the phage.

Economy of Operon Formation: Cotranscription Minimizes Shortfall in Protein Complexes

Publisher: American Society for Microbiology

Date: 29-10-2010

DOI: 10.1128/MBIO.00177-10

Abstract: Genes of prokaryotes and Archaea are often organized in cotranscribed groups, or operons. In contrast, eukaryotic genes are generally transcribed independently. Here we show that there is a substantial economic gain for the cell to cotranscribe genes encoding protein complexes because it synchronizes the fluctuations, or noise, in the levels of the different components. This correlation substantially reduces the shortfall in production of the complex. This benefit is relatively large in small cells such as bacterial cells, in which there are few mRNAs and proteins per cell, and is diminished in larger cells such as eukaryotic cells.

The Rules of the Game

Publisher: Duke University Press

Date: 2002

DOI: 10.1215/9780822383505-032

Architektur und rhetorische Inszenierung

Publisher: DE GRUYTER

Date: 31-12-2008

DOI: 10.1007/978-3-7643-8348-0_12

The Frenzy of the Visible in Comic Book Worlds

Publisher: SAGE Publications

Date: 11-2009

DOI: 10.1177/1746847709344789

Abstract: This article argues that the comic book form is anything but static. The panels that litter its pages are riddled with a dynamism and motion that presents its own unique articulation of time and space. Some of the narrative action represented within a comic book panel can ‘freeze’ time, but other panels — while remaining visually static as still images on a page — open up complex depictions of time and space that create modes of perception that are particular to comics. The comic represents the animated flux of time and space through stasis.

Introduction

Publisher: Routledge

Date: 03-03-2017

DOI: 10.4324/9781315563480-1

“Being Inside the Movie”:

Publisher: University of Texas Press

Date: 09-2019

DOI: 10.7560/VLT8403

Baroque Façades

Publisher: British Film Institute

Date: 2015

DOI: 10.1007/978-1-84457-904-4_11

Genre, culture and the semiosphere: New Horror cinema and post-9/11

Publisher: SAGE Publications

Date: 08-05-2014

DOI: 10.1177/1367877914528123

Abstract: What has been labelled ‘New Horror’ cinema has opened up its boundaries to incorporate signs specific to social and political events that accompanied and followed the events of 9/11. The reality of terror is transported into the fictional universe of horror. This article presents an interpretation of New Horror cinema using Yuri Lotman’s theory of the semiosphere and Wilma Clark’s extension of his theory in order to engage in a critical rethinking of how genres intersect with culture. The primary focus is on contemporary horror films that function as allegories that address post-9/11 and, in turn, to apply Lotman’s theory of the semiosphere and the concept of cultural ‘explosions’ to account for the generic shifts that have transformed the structure of the horror genre.

Television and the Neo-Baroque

Publisher: Edinburgh University Press

Date: 04-05-2005

DOI: 10.3366/EDINBURGH/9780748619009.003.0007

Hybrid Spaces

Publisher: Intellect

Date: 03-2018

DOI: 10.1386/AJPC.7.1.59_1

Abstract: In 2016, The Melbourne Museum staged the world premiere of Jurassic World: The Exhibition, a globally touring exhibition inspired by Universal Pictures’ blockbuster film, Jurassic World (2015), featuring animatronic dinosaurs created by Melbourne’s Creature Technology. The exhibition had the most successful opening month of any exhibition at the Museum to date, selling over 100,000 tickets. Yet Jurassic World also met with controversy for its theme park-esque design and pervasive branding, prioritization of spectacle and attraction over cultural heritage and education, and seamless integration of fact and fiction. In this article, we carry out a close analysis of Jurassic World’s combination of theme park and museum exhibition practices, situating the exhibition as a particularly significant ex le of the developing trend towards the creation of immersive ‘narrative environments’ in twenty-first century museums, as museums increasingly draw upon the devices of popular entertainment to engage and attract guests. Drawing from Norman Klein’s model of the ‘scripted space’ and Joseph Pine and James Gilmore’s ‘experience economy’, which has its roots in Disney theme parks, our analysis shows how Jurassic World plays with the boundaries of fact and fiction in a way that self-reflexively interrogates the contemporary relationship between popular entertainment and museums.

Leonardo Reviews

Publisher: MIT Press

Date: 02-2005

DOI: 10.1162/LEON.2005.38.1.71A

Why Comics Studies?

Publisher: Project MUSE

Date: 2011

DOI: 10.1353/CJ.2011.0027

Bowie and Science Fiction / Bowie as Science Fiction

Publisher: Project MUSE

Date: 2018

DOI: 10.1353/CJ.2018.0036

Editorial

Publisher: SAGE Publications

Date: 11-2009

DOI: 10.1177/1746847709351789

Baroque Theatricality and Scripted Spaces: From Movie Palace to Las Vegas Casinos

Publisher: BRILL

Date: 2017

DOI: 10.1163/9789004324350_017

Remembrance of games past

Publisher: ACM

Date: 30-09-2013

DOI: 10.1145/2513002.2513570

Hannibal: A Disturbing Feast for the Senses

Publisher: SAGE Publications

Date: 12-2015

DOI: 10.1177/1470412915607928

Abstract: This article analyses the television series Hannibal (NBC, 2013-) and argues that it is one of the most powerfully affect-driven shows to ever grace the television screen. Hannibal the series not only inflicts a cacophony of sensory assaults on the characters that inhabit its dark narrative universe, but also extends these assaults to the audience that participates in the world it has to offer. Providing a close reading of the episode ‘Hutamono’ (2:6), it is argued that we become victims, both of Hannibal the character and Hannibal the television series’ masterful style and affective power.

The Popular Memory Archive: Collecting and Exhibiting Player Culture from the 1980s

Publisher: Springer Berlin Heidelberg

Date: 2013

DOI: 10.1007/978-3-642-41650-7_20

Minimal Gene Regulatory Circuits for a Lysis-Lysogeny Choice in the Presence of Noise

Publisher: Public Library of Science (PLoS)

Date: 20-12-2010

DOI: 10.1371/JOURNAL.PONE.0015037

Emotion and the Seduction of the Senses, Baroque to Neo-Baroque

Publisher: Medieval Institute Publications

Date: 31-07-2018

DOI: 10.2307/J.CTVD1C8N2

Why Do Phage Play Dice?

Publisher: American Society for Microbiology

Date: 03-2012

DOI: 10.1128/JVI.07236-11

Leonardo Reviews

Publisher: MIT Press - Journals

Date: 08-2003

DOI: 10.1162/LEON.2003.36.4.328A

University Of Melbourne Faculty Of Arts

Location: Australia

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Swinburne University Of Technology

Location: Australia

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Australian Film Television And Radio School

Location: Australia

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La Trobe University

Location: Australia

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University Of Melbourne

Location: Australia

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Experiencing Space: Sensory Encounters From Baroque Rome To Neo-Baroque Las Vegas

Start Date: 2014

End Date: 2016

Funder: Australian Research Council

The History Of Theme Parks And Their Cultural Significance For Contemporary Society

Start Date: 2003

End Date: 2005

Funder: Australian Research Council

The Hispanic Baroque: Complexity In The First Atlantic Culture

Start Date: 2006

End Date: 2007

Funder: Social Sciences and Humanities Research Council of Canada

The Hispanic Baroque: Complexity In The First Atlantic Culture

Start Date: 2007

End Date: 2014

Funder: Social Sciences and Humanities Research Council of Canada

Imagining The Impossible: The Fantastic As Media Entertainment And Play

Start Date: 2018

End Date: 2018

Funder: Danish Agency for Science and Higher Education

Play It Again: Preserving Australian Videogame History

Start Date: 2019

End Date: 2021

Funder: Australian Research Council

(Play It Again: Creating A Playable History Of Australasian Digital Games, For Industry, Community And Research Purposes)

Start Date: 2012

End Date: 2014

Funder: Australian Research Council

Superheroes: Creative Force, Cultural Zeitgeist And Transmedia Phenomenon

Start Date: 2015

End Date: 2017

Funder: Australian Research Council

Spectopolis: Theme Park Worlds, Their History And Significance For Contemporary Culture

Start Date: 2002

End Date: 2002

Funder: Australian Research Council

Children Of Frankenstein: Science Fiction, Automata And The Emergence Of Robot Realities

Start Date: 2009

End Date: 2011

Funder: Australian Research Council

Discovery Projects - Grant ID: DP140103945

Start Date: 05-2014

End Date: 05-2019

Amount: $145,000.00

Funder: Australian Research Council

Discovery Projects - Grant ID: DP0345325

Start Date: 2003

End Date: 12-2005

Amount: $190,000.00

Funder: Australian Research Council

Discovery Projects - Grant ID: DP0209829

Start Date: 2002

End Date: 12-2006

Amount: $45,000.00

Funder: Australian Research Council

Linkage Projects - Grant ID: LP150100394

Start Date: 06-2016

End Date: 04-2021

Amount: $287,979.00

Funder: Australian Research Council

Discovery Projects - Grant ID: DP0987379

Start Date: 01-2009

End Date: 01-2012

Amount: $139,000.00

Funder: Australian Research Council

Linkage Projects - Grant ID: LP180100104

Start Date: 03-2020

End Date: 03-2024

Amount: $573,620.00

Funder: Australian Research Council

Linkage Projects - Grant ID: LP120100218

Start Date: 2012

End Date: 06-2015

Amount: $186,000.00

Funder: Australian Research Council