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  1. Neo-Baroque aesthetics and contemporary entertainment
    Erschienen: 2004
    Verlag:  MIT Press, Cambridge, Mass. ; EBSCO Industries, Inc., Birmingham, AL, USA

    Bibliothek der Hochschule Mainz, Untergeschoss
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    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Ebook
    Format: Online
    ISBN: 9780262280471; 0262280477; 141756069X; 9781417560691
    RVK Klassifikation: AP 45400 ; AP 55000 ; LH 61040
    Schriftenreihe: Media in transition
    Schlagworte: Massenmedien; Ästhetik; Stilmittel
    Umfang: 1 Online-Ressource (xiv, 323 pages), Illustrations, maps
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    Includes bibliographical references (pages 297-312) and index

  2. Neo-Baroque aesthetics and contemporary entertainment
    Erschienen: 2004
    Verlag:  MIT Press, Cambridge, Mass.

    Tracing the logic of media history, from the baroque to the neo-baroque, from magic lanterns and automata to film and computer games.The artists of the seventeenth-century baroque period used spectacle to delight and astonish; contemporary... mehr

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    Universitäts- und Landesbibliothek Sachsen-Anhalt / Zentrale
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    Universitätsbibliothek Osnabrück
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    Universitätsbibliothek der Eberhard Karls Universität
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    Tracing the logic of media history, from the baroque to the neo-baroque, from magic lanterns and automata to film and computer games.The artists of the seventeenth-century baroque period used spectacle to delight and astonish; contemporary entertainment media, according to Angela Ndalianis, are imbued with a neo-baroque aesthetic that is similarly spectacular. In Neo-Baroque Aesthetics and Contemporary Entertainment, she situates today's film, computer games, comic books, and theme-park attractions within an aesthetic-historical context and uses the baroque as a framework to enrich our understanding of contemporary entertainment media.The neo-baroque aesthetics that Ndalianis analyzes are not, she argues, a case of art history repeating or imitating itself; these forms have emerged as a result of recent technological and economic transformations. The neo-baroque forms combine sight and sound and text in ways that parallel such seventeenth-century baroque forms as magic lanterns, automata, painting, sculpture, and theater but use new technology to express the concerns of the late twentieth and early twenty-first century. Moving smoothly from century to century, comparing ceiling paintings to the computer game Doom, a Spiderman theme park adventure to the baroque version of multimedia known as the Bel Composto, and a Medici wedding to Terminator 2:3D, the book demonstrates the logic of media histories. Ndalianis focuses on the complex interrelationships among entertainment media and presents a rigorous cross-genre, cross-historical analysis of media aesthetics.

     

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