Aug 6, 2014 | Digital Media/Internet, Film, Uncategorized, Volume 24
Abstract: In recent years there has been much focus on the opportunities that mobile media devices (phones, tablets) offer for user-generated audio-video production. Most often this focus has concentrated on content with emphasis on new citizen journalism and YouTube...
Aug 6, 2014 | Animation, Digital Media/Internet, fan culture, Film, Television, Uncategorized, Volume 24
This special issue developed out the Intermediations symposium held at the University of Otago on May 31, 2013,[1] and on the invitation of keynote speaker and Refractory Editor, Angela Ndalianis. Presenters at this symposium who have contributed essays here include...
Jun 26, 2014 | Browse Past Volumes, fan culture, Film, Games, Television, Uncategorized, Volume 23
Themed Issue: Transmedia Horror Edited by Jessica Balanzategui & Naja Later Contents 1. The Comfort and Disquiet of Transmedia Horror in Higurashi: When They Cry (Higurashi no naku koro ni) – Brian Ruh 2. Jodi Arias in the Public Sphere: Rhetorics of...
Jun 26, 2014 | Digital Media/Internet, Film, Other, Uncategorized, Urban Space, Volume 23
On May 16, 2011, the Director of the Office of Public Health Preparedness and Response for the United States Centers for Disease Control, Dr. Ali S. Khan, did something unusual. He did something that irrevocably changed the ways in which public health agencies around...
Jun 26, 2014 | Digital Media/Internet, fan culture, Film, Games, Uncategorized, Urban Space, Volume 23
The Slender Man is a monster that has crept into our frame of imagination in recent years. Invented on the Internet forum Something Awful in 2009, the Slender Man has developed into an entire multi-platformed transmedia mythos.[1] Defined by his liminality, he makes a...
Jun 26, 2014 | Digital Media/Internet, Film, Volume 23
When The Exorcist hit theaters in 1973, televangelist Billy Graham was widely rumored to have said that evil resided in the very celluloid of that film.[1] Scott Derrickson’s Sinister (2012) derives horror from a similarly perverse faith in film stock as a vehicle for...
