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Bibliografická citace

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0 (hodnocen0 x )
(4.5) Půjčeno:9x 
BK
Cambridge : MIT Press, c2001
xxxix, 354 s. : il. ; 23 cm

objednat
ISBN 0-262-63255-1 (brož.)
ISBN 978-0-262-63255-3 (dotisk ; brož.)
Leonardo
Obsahuje bibliografické odkazy a rejstřík
Masmédia - rozvoj technologický - pojednání
Masmédia elektronická - rozvoj - pojednání
000055560
Foreword by Mark Tribe x // Prologue: Vertov’s dataset xiv // Acknowledgments xxvii // INTRODUCTION 2 // A personal chronology 3 // Theory of the present 6 // Mapping new media: method 8 // Mapping new media: organization 11 // The terms: language, object, representation 12 // 1 WHAT IS NEW MEDIA? 18 // How media became new 21 // Principles of new media 27 // 1. Numerical Representation 27 // 2. Modularity 30 // 3. Automation 32 // 4. Variability 36 // 5. Transcoding 45 // What new media is not 49 // Cinema as New Media 50 // The Myth of the Digital 52 // The Myth of Interactivity 55 // 2 THE INTERFACE 62 // The language of cultural interfaces 69 // Cultural Interfaces 69 // Printed Word 73 // Cinema 78 // HCI: Representation versus Control 88 // The screen and the user 94 // A Screen’s Genealogy 95 // The Screen and the Body 103 // Representation versus Simulation 111 // 3 THE OPERATIONS 116 // Menus, filters, plug-ins 123 // The Logic of Selection 123 // “Postmodernism” and Photoshop 129 // From Object to Signal 132 // Compositing 136 // From Image Streams to Modular Media 136 // The Resistance to Montage 141 // Archeology of Compositing: Cinema 145 // Archeology of Compositing: Video 149 // Digital Compositing 152 // Compositing and New Types of Montage 155 // Teleaction 161 // Representation versus Communication 161 // Telepresence: Illusion versus Action 164 // Image-Instruments 167 // Telecommunication 168 // Distance and Aura 170 // 4 THE ILLUSIONS 176 // Synthetic realism and its discontents 184 // Technology and Style in Cinema 185 // Technology and Style in Computer Animation 188 // The Icons of Mimesis 195 // The synthetic image and its subject 199 // Georges Mélies, the Father of Computer Graphics 200 // Jurassic Park and Socialist Realism 201 // Illusion, narrative, and interactivity 205 //
5 THE FORMS 212 // The database 218 // The Database Logic 218 // Data and Algorithm 221 // Database and Narrative 225 // Paradigm and Syntagm 229 // A Database Complex 233 // Database Cinema: Greenaway and Vertov 237 // Navigable space 244 // Doom and Myst 244 // Computer Space 253 // The Poetics of Navigation 259 // The Navigator and the Explorer 268 // Kino-Eye and Simulators 273 // EVE and Place 281 // 6 WHAT IS CINEMA? 286 // Digital cinema and the history of a moving image 293 // Cinema, the Art of the Index 293 // A Brief Archeology of Moving Pictures 296 // From Animation to Cinema 298 // Cinema Redefined 300 // From Kino-Eye to Kino-Brush 307 // The new language of cinema 309 // Cinematic and Graphic: Cinegratography 309 // The New Temporality: The Loop as a Narrative Engine 314 // Spatial Montage and Macrocinema 322 // Cinema as an Information Space 326 // Cinema as a Code 330 // Index 335

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