Category: References

Many More to Come in 2013

Substantially updated collection of references to come for semester one 2013.

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Dovey and Rose: Data Montage

We’re Happy and We Know It : Documentary: Data: Montage. … This is the preprint version of an essay, available at http://eprints.uwe.ac.uk/17041/

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Corrigan, The Essay Film

The Essay Film:From Montaigne, After Marker . Oxford University Press, USA, 2011.

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Nichols, Introduction to Documentary

Introduction to Documentary , Second Edition. … Indiana University Press, 2010.

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de Certeau, Making Do

I was also writing material that was returning to this book so threw it into the mix since teaching is far and away the best opportunity to gain a deep understanding of it. … Wasn’t sure at the start but I began with the Weinberger and then used de Certeau to critique Weinberger, and used the distinction between tactic and strategy to contextualise the subject in relation to industrial media and what I described as industrial learning (which is the students’ predominate recent experience of education.)

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Shields, Reality Hunger

It is written in a way that fits this subject in a very relevant way, all numbered short chunks, each of which (like a blog post) survives by itself as making sense but also bounces of all that surrounds it. … I guess I take this as further evidence that a lot of the more useful material for thinking through what it is to be a multilinear practitioner lies outside of film derived new media studies.

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Douglas, Reading and Closure

Unlike much of the cinema theory inspired work on readers and texts this is not trying to understand audience identification, visual pleasure, genre or realist narrative and continuity, most of which either don’t apply or are very different in small screen interactive work. … Literary theory however has never really had to answer that question, and so can more easily think, theoretically, about things that have always been experienced as whole are now fractured.

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Miles, Cinematic Paradigms

An essay from last century where the argument about the isomorphic relation of hypertextual linking to cinematic editing is made. From this it is a small step to the importance of relations in these sorts of practices (hypertext, cinema, Korsakow films), to the extent where I also describe such media structures as ‘relational media’.

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Sherman, Video Vernacular

Amsterdam: Institute of Network Cultures XS4All, 2008. http://networkcultures.org/wpmu/portal/publications/inc-readers/videovortex/ I’ve always enjoyed this essay, partly because there is a strong affinity between the idea of a vernacular practice and the larger contexts of making that the particular style and use of Korsakow that we do falls within. … While they conceive of themselves as creative media makers they do so through a commercial or at least industrial lens and this is, in many respects, a very different variety of creativity to what you find in the art practice that Sherman is describing.

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Miles, Softvideography

If I use this I always show some of my small interactive video sketches and do a QuickTime Pro editing demonstration to make visible the track based, object orientated, structure of QuickTime. This is an important quality of softvideo as it is premised on the addressable granularity of media, where in video this granularity is the shot, while within softvideo it is not only shots but the tracks and parts of tracks that make up the architecture of a softvideo file.

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Weinberger, Too Big to Know

However, this one is good as it is a great way to discuss the university, our classroom and learning and my role as ‘source of answers’ versus mentor come provocateur. We work our way through it, and then, often in the following week, return to it where the information come knowledge/wisdom pyramid is critiqued.

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Barthes, Work to Text

After going through each of the definitional terms, and using as many examples as come to mind from all and everywhere (I often use examples that are grounded in the life world of the students, rather than only high art examples), we get to the interesting bits. … Finally, it is worth recognising that the majority of students do not understand ‘theory’ in the way that humanities academics do (after all I became an academic because of the pleasure I take and my ability to ‘do’ theory, the majority of my students are not doing their degree to become academics), so spending a lot of time on this, and literally doing the reading in the lecture begins to teach what theory is, and its possible roles.

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Database Narrative Archives Symposium

Held at Concordia (Montréal) in May of 2011, the DNA symposium bought together documentary makers, academics, nonlinear type people and interested parties for a very productive few days. The lightning talks are worth a visit.

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Adventures in Research Creation

Adventures in Research Creation is a project funded out of Concordia, Montréal, which grew out of the Concordia Interactive Narrative Experimentation and Research Group (CINERG). This is the current home of the development team for the Korsakow software, and were the hosts of the Digital|Narrative|Archives event from 2011.

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DocWest

DocWest is the “Centre for Production and Research of Documentary Film at University of Westminster”. … Very useful resource and somewhere I’d stick on a bucket list if you wanted to visit key places working in this area.

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