Writings (Electronic Mediations)


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Assessing Concerns and Issues about the Mediation of Technology in Cyberbullying

The first couple of chapters are rich in historical backgrounds, providing information and analysis bringing the reader up to date with the different Caribbean challenges, while the last couple of chapters are mostly focused on strategies and action plans to achieve the objectives that had already been identified earlier on.

Caribbean Development: Setting the Framework. Caribbean Policy Analysis: Shapping the Issues. Caribbean Catalogue: Recasting the Strategies. The Missing Link in Thinking.

Meditations by Emperor of Rome Marcus Aurelius

The Politics of Development. Political Economy and Strategy. Political Logic and Economic Logic. Pathways in Analytical Leadership. The Imperative of Caribbean Convergence.


  1. Handbook of Specialty Elastomers.
  2. Restraint-Free Care: Individualized Approaches for Frail Elders.
  3. Economic Analysis & Canadian Policy.

Capturing Space in the Power of Markets. This anthology for the first time gathers a large number of social discourses that in Italy tried to define and contextualize cinema from the s to s.

Writings (Electronic Mediations)

Table of contents and Introduction. Photo by Laila Pozzo. Casetti, who is also the Thomas E. International Film Studies Journal, which includes 50 world-renowned film and media scholars. Read the conversation.

This volume argues that in the age of convergence, when the various media have tended to mutate and merge, not only has cinema survived but in fact it is flourishing once again. We find cinema in theaters, but also in our houses, in galleries and museums, on modes of transportation or in waiting rooms, on our mobile devices and online.

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The Seven Key Words proposed by the author help us to comprehend the ways in which cinema has opened up to new horizons, while nonetheless keeping its own distinct identity. International Film Studies Journal , which is composed of world-renown international film and media scholars. Whether we experience film in the theater, on our hand-held devices, in galleries and museums, onboard and in flight, or up in the clouds in the bits we download, cinema continues to provide us an enjoyment.

It is still living, even though convergence gives media new identities and new functions.

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If we want to fully grasp such a persistence of cinema, we must not only engage ourselves in an exciting travel from the remote corners of film history and theory to the most surprising sites on the internet and in our cities; moreover, we need to switch our minds far from the usual approaches based on concepts like canon, repetition, apparatus, and spectatorship, in favor of new words and ideas, including expansion, relocation, assemblage, and performance.

The first path he re-traces is based on delivery and the second on setting. According to Casetti, in the first path, we recognize cinema because what we watch is still the film object narrative cinema that we used to watch in the movie theatre, even though it is delivered on other screens that, unlike in the movie theatre, presuppose interrupted and fragmented viewing.

In the second path, we recognize cinema because of how we are watching, that is in a setting that mimics the movie theatre, even if the film object narrative cinema may have been substituted for other objects. Welcome on my website and weblog on cinema in the post-media age.

(P/B) FLUSSER: WRITINGS / FLUSSER VILEM

Please add your voice to the debate by posting a comment. In this article I argue that Artaud Double Bill by Atom Egoyan is the perfect illustration of the emergence of a new style of filmic vision. The opposition underlines four passages: from a text to the hypertext Nana watches a film, Anna watches a film, a clip inside this film, messages on her mobile phone, and so on ; from a centralized gaze to a decentralized glance Nana gives attention only to a film; Anna displays a multitasking attention ; from being immersed to surfing Nana dives into the world represented on the screen, to the point where she experiences a catharsis; Anna keeps the film as a series of single sequences, and reacts with admiration but without participation ; from isolation to connection Nana abolishes any relation with the exterior world; Anna stays in touch with her friend.

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