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 22, 2014 | fan culture, Film, Games, Other, Print Media, Television, Uncategorized, Urban Space, Volume 23
The Ring Franchise The circuits of transnational production sparked by Ringu (Hideo Nakata, 1998)[1] — which remains Japan’s most commercially successful domestic horror film ever released — are polyvalent and anfractuous, constituted of almost unprecedented levels of...
Jun 22, 2014 | Digital Media/Internet, Film, Games, Volume 23
In 2008, Steven Spielberg received a DVD screener of Oren Peli’s micro-budget horror film Paranormal Activity; after watching it, Spielberg claims his bedroom door mysteriously locked from the inside, forcing the director to call a locksmith. [1] He quickly returned...
Feb 5, 2014 | Film, Games, Television, Uncategorized, Volume 22
Abstract: This paper attempts to examine three films by director David Cronenberg, Videodrome, Naked Lunch, and eXistenZ in an effort to understand his ideas regarding the transformative nature of information on the body and mind. As a filmmaker, Cronenberg is unique...
Dec 28, 2012 | Digital Media/Internet, fan culture, Film, Games, Music, Sound, Volume 21
Abstract: During the Nine Inch Nails’ Lights in the Sky tour in 2008, Trent Reznor made use of two semi-transparent stealth screens layered in front of a third screen through which the band performed the second and third acts of the show. A stealth screen is made from...
Nov 7, 2012 | Animation, Comics, Digital Media/Internet, fan culture, Film, Games, Older Media, Television, Volume 20
Abstract: This essay examines a contemporary cultural icon that operates across distinct media boundaries, as a kind of transmedia archetype. Of interest is the visuality of what I call the ‘single female intruder’, which emerges as the intersection of a variety of...
