This volume collects twenty original essays on the philosophy of film. It uniquely brings together scholars working across a range of philosophical traditions and academic disciplines to broaden and advance debates on film and philosophy. The book includes contributions from a number of prominent philosophers of film including Noel Carroll, Chris Falzon, Deborah Knight, Paisley Livingston, Robert Sinnerbrink, Malcolm Turvey, and Thomas Wartenberg. While the topics explored by the contributors are diverse, there are a number of thematic threads that connect them. Overall, the book seeks to bridge analytic and continental approaches to philosophy of film in fruitful ways. Moving to the individual essays, the first two sections offer novel takes on the philosophical value and the nature of film. The next section focuses on the film-as-philosophy debate. Section IV covers cinematic experience, while Section V includes interpretations of individual films that touch on questions of artificial intelligence, race and film, and cinema's biopolitical potential. Finally, the last section proposes new avenues for future research on the moving image beyond film. This book will appeal to a broad range of scholars working in film studies, theory, and philosophy.

This book applies ecolinguistics and psychoanalysis to explore how films fictionalising environmental disasters provide spectacular warnings against the dangers of environmental apocalypse, while highlighting that even these apparently environmentally friendly films can still facilitate problematic real-world changes in how people treat the environment. Ecological Film Theory and Psychoanalysis argues that these films exploit cinema's inherent Cartesian grammar to construct texts in which not only small groups of protagonist survivors, but also vicarious spectators, pleasurably transcend the fictionalised destruction. The ideological nature of the 'lifeboats' on which these survivors escape, moreover, is accompanied by additional elements that constitute contemporary Cartesian subjectivity, such as class and gender binaries, restored nuclear families, individual as opposed to social responsibilities for disasters, and so on. The book conducts extensive analyses of these processes, before considering alternative forms of filmmaking that might avoid the dangers of this existing form of storytelling. The book's new ecosophy and film theory establishes that Cartesian subjectivity is an environmentally destructive 'symptom' that everyday linguistic activities like watching films reinforce. This book will be of great interest to students and scholars of film studies, literary studies (specifically ecocriticism), cultural studies, ecolinguistics, and ecosophy.

Devil May Cry 5 showcases stylish mayhem against fiendish foes at the hands of Devil Hunters with demon blood in their veins. Series mainstay Dante, his nephew Nero, and mysterious newcomer V join forces to hack and slash their way through enemies on a mission to stop the destruction of the human world at the hands of the Demon King Urizen. Devil May Cry 5: Official Artworks collect the fantasy artwork behind this landmark installment in the fan-favorite franchise. Inside you'll find character artwork, weapon designs, creatures, locations, storyboards, and plenty of creative commentary.

This book examines Shyam Benegal's films and alternative image(s) of India in his cinema, and traces the trajectory of changing aesthetics of his cinema in the post-liberalisation era. The book engages with the challenges faced by India as a nation-state in post-colonial times. Looking at hybrid and complex narratives of films like Manthan, Junoon, Kalyug, Charandas Chor, Sooraj Ka Satvaan Ghoda, Zubeidaa and Well Done Abba , among others, it analyses how these stories and characters, adapted and derived from mythology, folk-tales, historical fiction and novels, are rooted in the socio-political contexts of modern India. The author explores diverse themes in Benegal's cinema such as the loss of home and identity, women's sexuality, and the status of dalits and Muslims in India. He also focuses on how the filmmaker expertly weaves history with myth, culture, and contemporary politics and discusses the debate around the interpretive value of film adaptations, adaptation of history and the representations of marginalised communities and liminal spaces. The book will be useful for students and researchers of film studies, cultural studies, and the humanities. It will also interest readers of Indian cinema and the social and cultural history of India.

The New York Times film critic shows why we need criticism now more than ever Few could explain, let alone seek out, a career in criticism. Yet what A.O. Scott shows in Better Living Through Criticism is that we are, in fact, all critics: because critical thinking informs almost every aspect of artistic creation, of civil action, of interpersonal life. With penetrating insight and warm humor, Scott shows that while individual critics--himself included--can make mistakes and find flaws where they shouldn't, criticism as a discipline is one of the noblest, most creative, and urgent activities of modern existence. Using his own film criticism as a starting point--everything from his infamous dismissal of the international blockbuster The Avengers to his intense affection for Pixar's animated Ratatouille--Scott expands outward, easily guiding readers through the complexities of Rilke and Shelley, the origins of Chuck Berry and the Rolling Stones, the power of Marina Abramovich and 'Ode on a Grecian Urn.' Drawing on the long tradition of criticism from Aristotle to Susan Sontag, Scott shows that real criticism was and always will be the breath of fresh air that allows true creativity to thrive. "The time for criticism is always now," Scott explains, "because the imperative to think clearly, to insist on the necessary balance of reason and passion, never goes away."

A personal and expert account of the artists and events that defined the medium's first 50 years, written a true expert in the field 'London's book excites because it brings new artists into a lineage worthy of greater stuff. Her passion for lesser-known figures ... is contagious.' - ARTnews, The Best Art Books of 2020 Since the introduction of portable consumer electronics nearly a half century ago, artists throughout the world have adapted their latest technologies to art-making. This first-hand account by the curator who has been following video art from its beginnings in the late 1960s, when artists first adapted portable consumer technology to art-making, spotlights video's ongoing importance in the art world, tracing the genre's development alongside the advances in technology that have continued to open up new possibilities for artists. London has worked closely and personally with the artists she writes about, who span generations, including Joan Jonas, Nam June Paik, Bill Viola, Shirin Neshat, Pipilotti Rist, Miranda July, Ragnar Kjartansson, and Ian Cheng. The text is both art-historical and personal - weaving together background information and insightful interpretations with unique anecdotes and experiences to trace the history of video art as it transformed into the broader field of media art - from analog to digital, small TV monitors to wall-scale projections, and clunky hardware to user-friendly software. In doing this, she reveals how video evolved from fringe status to be seen as one of the foremost art forms of today.

Arabic Glitch explores an alternative origin story of twenty-first century technological innovation in digital politics-one centered on the Middle East and the 2011 Arab uprisings. Developed from an archive of social media data collected over the decades following the 2003 U.S. invasion of Iraq, this book interrogates how the logic of programming technology influences and shapes social movements. Engaging revolutionary politics, Arab media, and digital practice in form, method, and content, Laila Shereen Sakr formulates a media theory that advances the concept of the glitch as a disruptive media affordance. She employs data analytics to analyze tweets, posts, and blogs to describe the political culture of social media, and performs the results under the guise of the Arabic-speaking cyborg VJ Um Amel. Playing with multiple voices that span across the virtual and the real, Sakr argues that there is no longer a divide between the virtual and embodied: both bodies and data are physically, socially, and energetically actual. Are we cyborgs or citizens-or both? This book teaches us how a region under transformation became a vanguard for new thinking about digital systems: the records they keep, the lives they impact, and how to create change from within.

This book provides a framework by which a global audience might think theologically about contemporary films produced in mainland China by Chinese directors. Up to this point the academic discipline of Christian theology and film has focussed predominantly on Western cinema, and as a result, has missed out the potential insights offered by Chinese spirituality on film. Mainland Chinese films, produced within the nation's social structure, offer an excellent lingua franca of China. Illuminating the spiritual imagination of Chinese filmmakers and their yearning for transcendence, the book uses Richard A. Blake's concept of afterimage to analyse the potential theological implications of their films. It then brings Jurgen Moltmann's "immanent-transcendence" and Robert K. Johnston's "God's wider Presence" into conversation with Confucianist and Daoist ideas of there being, spirituality-speaking, "More in Life than Meets the Eye" than simply material existence. This all combines to move beyond film and allow for a Western audience to gain a new perspective on Chinese culture and traditions. One that uses familiar Western terms, while avoiding the imposition of a Western mindset. This is a new perspective on cinema, religion and Chinese culture that will be of keen interest to scholars of Religion and Film, Religious Studies, Theology, Sociology of Religion and Chinese Studies.

This collection of essays by biblical scholars is the first book-length treatment of the 2014 film Noah, directed by Darren Aronofsky. The film has proved to be of great interest to scholars working on the interface between the Bible and popular culture, not only because it was heralded as the first of a new generation of biblical blockbusters, but also because of its bold, provocative, and yet unusually nuanced approach to the interpretation and use of the Noah tradition, in both its biblical and extra-biblical forms. The book's chapters, written by both well-established and up-and-coming scholars, engage with and analyze a broad range of issues raised by the film, including: its employment and interpretation of the ancient Noah traditions; its engagement with contemporary environmental themes and representation of non-human animals; its place within the history of cinematic depictions of the flood, status as an 'epic', and associated relationship to spectacle; the theological implications of its representation of a hidden and silent Creator and responses to perceived revelation; the controversies surrounding its reception among religious audiences, especially in the Muslim world; and the nature and implications of its convoluted racial and gender politics. Noah as Antihero will be of considerable interest to scholars conducting research in the areas of religion and film, contemporary hermeneutics, reception history, religion and popular culture, feminist criticism, and ecological ethics.

This volume collects twenty original essays on the philosophy of film. It uniquely brings together scholars working across a range of philosophical traditions and academic disciplines to broaden and advance debates on film and philosophy. The book includes contributions from a number of prominent philosophers of film including Noel Carroll, Chris Falzon, Deborah Knight, Paisley Livingston, Robert Sinnerbrink, Malcolm Turvey, and Thomas Wartenberg. While the topics explored by the contributors are diverse, there are a number of thematic threads that connect them. Overall, the book seeks to bridge analytic and continental approaches to philosophy of film in fruitful ways. Moving to the individual essays, the first two sections offer novel takes on the philosophical value and the nature of film. The next section focuses on the film-as-philosophy debate. Section IV covers cinematic experience, while Section V includes interpretations of individual films that touch on questions of artificial intelligence, race and film, and cinema's biopolitical potential. Finally, the last section proposes new avenues for future research on the moving image beyond film. This book will appeal to a broad range of scholars working in film studies, theory, and philosophy.

Who's worse, the Young-Girl or the Man-Child? Tiqqun's Preliminary Materials for a Theory of the Young-Girl is a controversial work of anticapitalist philosophy that has attracted musicians, playwrights, feminist theorists, and men's-rights activists since its publication in 1999. More than twenty years after its publication the international reverberation of Young-Girls shows no signs of weakening. Young-Girls in Echoland: #Theorizing Tiqqun is a guide to this ongoing postdigital conversation, engaging with artworks and textual criticism provoked by Tiqqun's audacious, arguably misogynistic textual voice. Heather Warren-Crow and Andrea Jonsson show how Tiqqun's polarizing figure has grown and matured but also stayed unapologetically girly in the works of artists and scholars discussed here. Rethinking the myth of Echo and Narcissus by performing a different kind of listening, they take us on a journey from VSCO girls to basic bitches to vampires. With an ear for the sound of Tiqqun's polemic and its ensemble of Anglophone and Francophone rejoinders, Young-Girls in Echoland offers a model for analyzing the call-and-response of pop philosophy and for hearing the affective rhythms of communicative capitalism. Forerunners: Ideas First is a thought-in-process series of breakthrough digital publications. Written between fresh ideas and finished books, Forerunners draws on scholarly work initiated in notable blogs, social media, conference plenaries, journal articles, and the synergy of academic exchange. This is gray literature publishing: where intense thinking, change, and speculation take place in scholarship.

Is art created with computers really art? This book answers 'yes.' Computers can generate visual art with unique aesthetic effects based on innovations in computer technology and a Postmodern naturalization of technology wherein technology becomes something we live in as well as use. The present study establishes these claims by looking at digital art's historical emergence from the 1960s to the start of the present century. Paul Crowther, using a philosophical approach to art history, considers the first steps towards digital graphics, their development in terms of three-dimensional abstraction and figuration, and then the complexities of their interactive formats.

When law student Atey Ghailan realized that he was doing more sketching than note-taking in class, he decided to pursue a career in art. Atey has written a book that showcases his best and most fascinating work, with details from behind the scenes of his experiences in the art industry so far. Atey's artistic journey, from doodling in class to Senior Illustrator at Riot Games, California is central to the book. In addition, he wants readers to consider their own exciting journey, whether they have still to set off, or are on the road already. Readers will discover insight to his creative workflow alongside practical tips and techniques that can be applied to their own practice. The book shares how the artist defeats the dreaded art block, using a visual library packed with ideas and inspiration, and Atey will be debuting a new and very personal project, unveiling completely new and extremely exciting art.

Featuring new art from the upcoming video game, Diablo 4 from Blizzard Entertainment!

Model, texture and animate with Cinema 4D 11 using the techniques and tips provided in Cinema 4D 11 Workshop. Starting with all of the basic concepts, functions, and tools - follow along to the workshop tutorials that deliver a hands-on knowledge of the new R11 toolset as well as the returning advanced features. The companion website provides all of the required tutorial media from the projects in the book so that you create your own working models and animations.

The Crash Bandicoot(TM) series has remained a beloved staple of platform gaming ever since the first game's release in 1996. The Art of Crash Bandicoot(TM)4: It's About Time(TM)is a rich repository overflowing with interviews, quotes, observations and anecdotes, accompanied by a treasure trove of concept art detailing the characters and environments of the game. Gamers of every type will cherish this all-encompassing look into the zany, wild and unpredictable world of Crash Bandicoot(TM) .

Girl Head shows how gender has had a surprising and persistent role in film production processes, well before the image ever appears onscreen. For decades, feminist film criticism has focused on issues of representation: images of women in film. But what are the feminist implications of the material object underlying that image, the filmstrip itself? What does feminist analysis have to offer in understanding the film image before it enters the realm of representation? Girl Head explores how gender and sexual difference have been deeply embedded within film materiality. In rich archival and technical detail, Yue examines three sites of technical film production: the film laboratory, editing practices, and the film archive. Within each site, she locates a common motif, the vanishing female body, which is transformed into material to be used in the making of a film. The book develops a theory of gender and film materiality through readings of narrative film, early cinema, experimental film, and moving image art. This original work of feminist media history shows how gender has had a persistent role in film production processes, well before the image ever appears onscreen.

The Art of Eliza Ivanova is an evocative, edgy, and beautiful book filled with the work of this exciting artist. A graduate of the California Institute of Arts, Bulgarian-born Eliza now lives in San Francisco where she created much of the art on these pages. She produces effortless movement with her sketched lines and animation-influenced dynamic touches. Well known for her portraits and figures of women and children, Eliza's style is distinctive and rich in detail. In addition to a gallery filled with a mix of old favorites, new creations and bespoke commissions for this book, you will be invited into Eliza's world. Enter her studio to discover her workspace and favorite tools. Eliza also shares techniques with us in step-by-step workshops to help us capture some of that dynamic movement that infuses her work. Both aspiring and established artists will benefit from Eliza's technical tips and words of wisdom about life, work, and more.

Contributors to this issue examine the role of video games in American culture, approaching games through the lenses of transpacific studies, queer historiography, cultural history, critical race and ethnic studies, and border studies. They explore interactions between the United States and Asia through the genre of visual novels; investigate representations of the AIDS crisis in video game history; consider how games like Papers, Please address concepts of borders and national belonging; and show the aesthetic and political challenges that games like Assassin's Creed III face in telling counterhistories of marginalized peoples. Taken together, these essays show how games can contribute to an expanded understanding of the United States and of the ways that cultural forms circulate nationally and transnationally. Contributors. Patrick Jagoda, Stephen Joyce, Gary Kafer, Jennifer Malkowski, Katrina Marks, Josef Nguyen, Christopher B. Patterson, Bo Ruberg, Arthur Z. Wang

Arabic Glitch explores an alternative origin story of twenty-first century technological innovation in digital politics-one centered on the Middle East and the 2011 Arab uprisings. Developed from an archive of social media data collected over the decades following the 2003 U.S. invasion of Iraq, this book interrogates how the logic of programming technology influences and shapes social movements. Engaging revolutionary politics, Arab media, and digital practice in form, method, and content, Laila Shereen Sakr formulates a media theory that advances the concept of the glitch as a disruptive media affordance. She employs data analytics to analyze tweets, posts, and blogs to describe the political culture of social media, and performs the results under the guise of the Arabic-speaking cyborg VJ Um Amel. Playing with multiple voices that span across the virtual and the real, Sakr argues that there is no longer a divide between the virtual and embodied: both bodies and data are physically, socially, and energetically actual. Are we cyborgs or citizens-or both? This book teaches us how a region under transformation became a vanguard for new thinking about digital systems: the records they keep, the lives they impact, and how to create change from within.

Video art emerged as an art form that from the 1960s and onwards challenged the concept of art - hence, art historical practices. From the perspective of artists, critics, and scholars engaged with this new medium, art was seen as too limiting a notion. Important issues were to re-think art as a means for critical investigations and a demand for visual reconsiderations. Likewise, art history was argued to be in crisis and in need of adapting its theories and methods in order to produce interpretations and thereby establish historical sense for moving images as fine art. Yet, as this book argues, video art history has evolved into a discourse clinging to traditional concepts, ideologies, and narrative structures - manifested in an increasing body of texts. Video Art Historicized provides a novel, insightful and also challenging re-interpretation of this field by examining the discourse and its own premises. It takes a firm conceptual approach to the material, examining the conceptual, theoretical, and methodological implications that are simultaneously contested by both artists and authors, yet intertwined in both the legitimizing and the historicizing processes of video as art. By engaging art history's most debated concepts (canon, art, and history) this study provides an in-depth investigation of the mechanisms of the historiography of video art. Scrutinizing various narratives on video art, the book emphasizes the profound and widespread hesitations towards, but also the efforts to negotiate, traditional concepts and practices. By focusing on the politics of this discourse, theoretical issues of gender, nationality, and particular themes in video art, Malin Hedlin Hayden contests the presumptions that inform video art and its history.