Konstfacks bibliotek

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*008111130s2005    xxua     b    001 0 eng
*015  $aGBA564778$2bnb
*0167 $a013264890$2Uk
*020  $a978-0-262-64061-9 (pbk.)
*020  $a0-262-64061-9 (pbk.)
*035  $a(SE-LIBR)12443597
*035  $a(Ko)40770
*040  $aUKM$cUKM$dBAKER$dYDXCP$dBTCTA$dOCLCG$dSNU$dI8H
*05014$aPN1995$b.N46 2004
*08204$a791.43$222
*084  $aDf$2kssb/8
*084  $aBfk$2kssb/8
*1001 $aNdalianis, Angela,$d1960-
*24510$aNeo-Baroque aesthetics and contemporary entertainment /$cAngela Ndalianis
*260  $aCambridge, Mass. ;$aLondon :$bMIT,$c2005
*300  $a336 p. :$bill. ;$c23 cm.
*4901 $aMedia in transition
*500  $aOriginally published: 2004.
*504  $aIncludes bibliographical references and index.
*5050 $aPolycentrism and seriality : (Neo-)Baroque narrative formations -- Intertextuality, labyrinths, and the (Neo-)Baroque -- Hypertexts, mappings, and colonized spaces -- Virtuosity, special-effects spectacles, and architectures of the senses -- Special-effects magic and the spiritual presence of the technological.
*650 7$aMassmedia$xestetiska aspekter$2sao
*650 7$aPopulärkultur$xestetik$2sao
*650 0$aMotion pictures.
*650 0$aMass media.
*650 0$aMass media$xTechnological innovations.
*650 0$aCinematography$xSpecial effects.
*650 0$aCivilization, Baroque.
*650 0$aVideo games.
*830 0$aMedia in transition.
*841  $5Ko$ax  a$b1111304u    8   1001uu   0901128$e4
*852  $5Ko$bKo$hDf
^

Tracing the logic of media history, from the baroque to the neo-baroque, from magic lanterns and automata to film and computer games.

The artists of the seventeenth-century baroque period used spectacle to delight and astonish; contemporary entertainment media, according to Angela Ndalianis, are imbued with a neo-baroque aesthetic that is similarly spectacular. 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. The neo-baroque forms combine sight and sound and text in ways that parallel such seventeenth-century baroque forms as magic lanterns, automata, painting, sculpture, and theater but use new technology to express the concerns of the late twentieth and early twenty-first century. 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 erminator 2:3D , the book demonstrates the logic of media histories. Ndalianis focuses on the complex interrelationships among entertainment media and presents a rigorous cross-genre, cross-historical analysis of media aesthetics.

• List of Illustrationsp. vii
• Series Forewordp. xi
• Acknowledgmentsp. xiii
• Introduction: The Baroque and the Neo-Baroquep. 1
• Postclassical, Modern Classicism, or Neo-Baroque? Will the Real Contemporary Cinema Please Stand Up?p. 1
• ...Of Things Baroquep. 7
• The "Baroque Baroque" and the Hollywood Style: the 1920s and 1930sp. 10
• The Latin American and Spanish Neo-Baroquep. 12
• The Spatial Aspect of the Cultural Systemp. 15
• The Neo-Baroque and Contemporary Entertainment Mediap. 23
• Polycentrism and Seriality: (Neo-)Baroque Narrative Formationsp. 31
• Seriality and the (Neo-)Baroquep. 31
• Globalization, Seriality and Entertainment Mediap. 34
• Capitalism, Seriality, and the Baroquep. 41
• Seigneurial Seriality: Serial Form and Baroque Allegoryp. 49
• An Aesthetic of Repetition and the Drive for Perfectionp. 55
• The Fragment and the Whole: Aliens/Predator: The Deadliest of the Speciesp. 60
• Intertextuality, Labyrinths, and the (Neo-)Baroquep. 71
• "Intertextual Arenas" and (Neo-)Baroque Foldsp. 71
• Multiple Temporalities and Monadic Logic: The Evil Dead and Evil Dead II, the "Original" and the Sequelp. 73
• The Labyrinth, Virtuosity, and the Barberini Ceilingp. 81
• Doom, Doom II, and Neo-Baroque Forces of Expansionp. 96
• The Labyrinth, Virtuosity, and Doom IIp. 103
• Hypertexts, Mappings, and Colonized Spacesp. 109
• Phantasmagoria and Intertextual Journeys through Horrorp. 109
• Stalker Film Meets the Stalker CD-ROM "Interactive Movie"p. 115
• The Hypertextual Array: A New Medium for the Neo-Baroquep. 120
• Colonizing Space: The Baroque Mapping of New Worldsp. 129
• Colonizing Cyberspace: Neo-Baroque Mapping and Virtual Spacesp. 140
• Virtuosity, Special-Effects Spectacles, and Architectures of the Sensesp. 151
• (Neo-)Baroque Visualityp. 151
• The Quadratura Spectacle of S. Ignazio and the Digital Spectacle of Jurassic Parkp. 160
• Optics, Virtuosity, and Seventeenth-Century Illusionistic Ceiling Paintingsp. 171
• Optics, Virtuosity, and Digital Effects in Science Fiction Cinemap. 179
• Star Wars and the Architecture of Visionp. 189
• Remediation, Spectacle, and the Assault on the Sensoriump. 193
• Terminator 2: 3D Battle across Time, the Unity of the Arts, and Architectures of the Sensesp. 199
• Special-Effects Magic and the Spiritual Presence of the Technologicalp. 209
• Sensual Seduction and (Neo-)Baroque Transcendencep. 209
• Aliens and the Second Coming: The Spiritual Presence of the Technologicalp. 221
• The Magic of Spectaclep. 226
• The Aesthetics of Rare Experiencesp. 233
• The Game of Creation: Automata, Cyborgs, and Animated Statuesp. 243
• The Amazing Adventures of Spiderman and the Bel Compostop. 251
• Notesp. 257
• Referencesp. 297