A Medium in Crisis in the Digital Age

Gaudreault, André; Marion, P

doi:10.7312/columbia/9780231173575.003.0008

Cited by 5 publications

(7 citation statements)

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“…Scholars in media studies have often posed the question if media such as cinema (e.g. Gaudreault and Marion, 2015) or television (e.g. McRae, 2006) disappear or are still recognizable entities in a digital era.…”

Section: Towards a Biographical Approachmentioning

confidence: 99%

Rethinking the distinctions between old and new media: Introduction

Lesage

Natale

2019

Convergence: The International Journal of Research into New Med

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Recent approaches to media change have convincingly shown that distinctions between old and new media are inadequate to describe the complexity of present and past technological configurations. Yet, oldness and newness remain powerful ways to describe and understand media change and continue to direct present-day perceptions and interactions with a wide range of technologies – from vinyl records to artificial intelligence voice assistants such as Siri and Alexa. How can one refuse rigid definitions of old and new, while at the same time retaining the usefulness and pertinence of these concepts for the study and analysis of media change? This introduction to the special issue entitled ‘Rethinking the Distinctions between Old and New Media’ aims to answer this question by taking up the notion of biography. We argue that the recurrence of oldness and newness as categories to describe media is strictly related to the fact that interactions with media are embedded within a biographical understanding of time, which refers both to the life course of people or objects and to the narratives that are created and disseminated about them. Employing this approach entails considering the history of a medium against the history of the changing definitions that are attributed to it and, more broadly, to considering time not only as such but also against the narratives that make it thinkable and understandable.

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Section: Towards a Biographical Approachmentioning

confidence: 99%

Rethinking the distinctions between old and new media: Introduction

Lesage

Natale

2019

Convergence: The International Journal of Research into New Med

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“…Moreover, most cinephiles would agree without hesitation that seeing films in a movie theater is a superior, unique experience (e.g., Sontag, 1996). However, with respect to everyday life, most cinematic experiences in the 21st century are no longer taking place in a movie theater, but instead in our homes or in other places like in transit via mobile devices (Aveyard, 2016; Gaudreault & Marion, 2015; for a recent study about motivations for movie-going in the Netflix age see Tefertiller, 2017). 2 Viewing films outside of the theater is common practice nowadays and in fact much more frequent and preferred in comparison with going to the movies (GfK, 2015; Northern Alliance & Ipsos MediaCT, 2011; The Economist & YouGov Poll, 2018).…”

Section: Movie Theater Versus Home Cinemamentioning

confidence: 99%

“…Although the end of cinema as we know it has been predicted ever since TV found its way into our homes in the 1950s, the primary release form of new feature films today remains a screening in the movie theater. The widespread coverage of private homes with TV did, however, drastically reduce the number of movie theaters (for data on the development in Germany from the year 1946 to 2014 see Castendyk, 2014) and movie theaters were faced ever since with ongoing challenges by the introduction of home entertainment technologies like VHS, DVD, BluRay disks and, last but not least, online streaming (Gaudreault & Marion, 2015). The rapid rise of video-on-demand online streaming services like Netflix recently advanced the discussion about movie theaters versus home cinema to a new level: Netflix is refusing the long-term agreement within the movie industry of an exclusive theatrical window for movie releases before other forms of distribution.…”

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confidence: 99%

In the dark cube: Movie theater context enhances the valuation and aesthetic experience of watching films.

Fröber¹,

Thomaschke²

2021

Psychology of Aesthetics, Creativity, and the Arts

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There is a worldwide increase in feature film releases each year. While a theatrical release is still the primary release form, more and more films are watched via online streaming in home cinemas. Watching films at home is unquestionably high in convenience, but an understudied question is, how this shift in context-from the movie theater to the home cinema-affects the cinematic experience while watching a feature film. To test this, aesthetic emotions and the overall judgment of the cinematic experience were compared between watching a film in a movie theater or home cinema. In line with cognitive models of art appreciation, it was found that a movie theater context leads to a stronger emotional experience and a more favorable judgment. Only boredom was felt stronger in the home cinema. This movie theater effect persisted during a second viewing, regardless of context. These results have theoretical and practical implications for empirical aesthetics, movie fans, and the movie industry.

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“…While Boudissa praises these new characteristics of the comics panel afforded by digital screens, Groensteen shivers at this "poetics of appearance-disappearance." As with cinema, the digitalization of graphic novels spurs critics and theorists to adopt pro-or contrapositions (Gaudreault and Marion, 2015;Marion, 2012). Aiming to pair narrative and format, e-graphic novels often challenge the conventional specificity of comics, blurring boundaries with other media through a process of hybridization (Rageul, 2014).…”

Section: Born-digitalmentioning

confidence: 99%

E-Graphic Novels

Crucifix

Dozo

2018

The Cambridge History of the Graphic Novel

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Resisting the DigitalCartoonists often appear as nostalgists, at odds with their times, practicing a seemingly obsolete but stubbornly persistent paper-and-ink craft. This somewhat clichéd view, already core to the figuration of underground cartoonists as Robert Crumb and Harvey Pekar, stands out even more clearly in the digital age, as wittily illustrated by Adrian Tomine's own portraits of the graphic novelist's everyday plight. In one of the various autobiographical gag stories included in his Optic Nerve periodical, fashioned in the format of an old-style 'floppy' comic book, Tomine wittily depicts the conundrum of the modern cartoonist faced with the 'digital revolution.' The page starts out on the familiar scene of the artist at his drawing table, typifying a material, physical creation acted out with specific tools and furniture. This classic representation of cartooning as métier is, however, a frustrated scene from the start: the paper is bleeding, it is impossible to ink properly, and the cartoonist is being failed by his old tools. As he interrupts work to search for a higher-quality drawing paper that does not bleed, the shop assistant at the art supply store advises him to try using a graphics tablet.Then going into a bookstore for a biography of post-war cartoonists Crockett Johnson and Ruth Krauss, the employee suggests to simply order it from Amazon. Eventually, Tomine tries to comfort himself by checking his P.O. box for 'thoughtful, hand-written' fan letters, but what he finds instead is an angry computer-typed note urging him to go digital. This exercise in self-mockery, typical for Tomine's posture (Schneider, 2016: 157-159), caricatures the ubiquitous resistance formulated by contemporary cartoonists against 'digital culture,' a wholesale opposition that is shared by many of Tomine's peers in their working techniques, publication choices, subject matter, and authorial ethos (Chute and Pagoda 2014).As comics overtly assume their status as low-tech paper artifacts, the strength and

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A Medium in Crisis in the Digital Age

Cited by 5 publications

References 0 publications

Rethinking the distinctions between old and new media: Introduction

Rethinking the distinctions between old and new media: Introduction

In the dark cube: Movie theater context enhances the valuation and aesthetic experience of watching films.

E-Graphic Novels

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