Neo-Baroque Aesthetics and Contemporary Entertainment (Media in Transition)
| Author | : | |
| Rating | : | 4.76 (666 Votes) |
| Asin | : | 0262140845 |
| Format Type | : | paperback |
| Number of Pages | : | 336 Pages |
| Publish Date | : | 2017-07-27 |
| Language | : | English |
DESCRIPTION:
She convincingly shows that the late twentieth-century culture of special effects is neo-baroque through and through: given to open-ended spectacles, fictions blended with reality, and bold displays of technical virtuosity. Yet Angela Ndalianis refreshingly reminds us how much films like Jurassic Park or Alien, and computer games such as Phantasmagoria and Tomb Raider, owe to the labyrinthine compositions and machinic illusions of seventeenth-century ceiling painting. (Michael Punt, EditorInChief, Leonardo Reviews) . Entertainment media continue to undergo dramatic t
Ndalianis focuses on the complex interrelationships among entertainment media and presents a rigorous cross-genre, cross-historical analysis of media aesthetics.. 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. 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 T
Angela Ndalianis is Associate Professor and Head of the Cinema Studies Program at the University of Melbourne, Australia.
The transitional era of neo-baroque poetics Philippe M. Ndalianis is one of the most interesting writer when it comes to contemporary popular culture and contemporary popular cinema in particular. While I may not agree with everything she says in this book – I am torn between neo-post-classicist and post-modern/neo-baroque arguments when it comes to analyzing the forces and logics at work behind contemporary mass culture; and there's also some flaws in her argumentation when it come