Chris Comerford explores cinematic digital television as an artistic classification and an academic object of study, and illuminates the slippage in definitions of previously-understood media forms.
Chris Comerford explores cinematic digital television as an artistic classification and an academic object of study, and illuminates the slippage in definitions of previously-understood media forms.
Chris Comerford is Lecturer in Communication and Media at the University of Wollongong, Australia. His research specialises in screen studies, fan studies and digital media, mapping cinematic television in relation to production, reception and aesthetic aspects of screen studies, and the benefits of emergent media, including social media, video games and streaming television, in leisure and pedagogy.
Inhaltsangabe
Introduction 1. Quality and the Cinematic: Contested Grounds in Television 2. Aesthetics and Style in Cinematic Television 3. Production, Engagement, Intervention: Industries and Audiences in Cinematic Digital Television 4. Episodic Brand-Building: Cinematic Digital Television as Experience and Extension 5. Reevaluating Cinematic Television: Four Case Studies Conclusion
Introduction 1. Quality and the Cinematic: Contested Grounds in Television 2. Aesthetics and Style in Cinematic Television 3. Production, Engagement, Intervention: Industries and Audiences in Cinematic Digital Television 4. Episodic Brand-Building: Cinematic Digital Television as Experience and Extension 5. Reevaluating Cinematic Television: Four Case Studies Conclusion
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