Kristen Whissel
Biographic Data
| ID | 3519478 |
|---|---|
| NAME | Kristen Whissel |
| GIVEN NAMES | Kristen |
| FAMILY NAME | Whissel |
| SIGNATURE | WHISSEL K |
| AFFILIATIONS | University of California, Berkeley |
| VERIFIED | No |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 6 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1999 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Dial M for Murder
In Alfred Hitchcock’s Dial M for Murder (1954), 3D facilitates the film’s organization of the scopic and epistemological pleasures of the detective thriller around the perceptual experience of the uncanny. By filtering its décor through stereo-aesthetics, Dial M articulates a postwar dread of dispossession, challenges the spectator’s efforts to feel ‘at home’ in the depicted space and in the space of reception, and dramatizes how the (violent) vi…
Parallax Effects
This article puts Alfonso Curaon’s Gravity 3D (2013) into dialogue with 19th- and 20th-century writings on the stereoscope in order to show how digital 3D cinema remediates stereoscopic 3D aesthetics to effects that extend beyond the production of an immersive sensory experience. Recent digital 3D films update for a new media environment the tendency of the stereoscopic 3D image to tie z-depth (or positive parallax) with the desire to see and kno…
Tales of Upward Mobility
This article investigates a new cinematic spatial dialectics enabled by digital special effects. Focusing on blockbuster films from a range of genres (martial arts, disaster, comic-book, and science-fiction films), it approaches digitally enhanced “verticality” as a mode of cinematic representation designed to exploit the visual pleasures of power and powerlessness
Regulating Mobility
Placing the Spectator on the Scene of History
(2002). Placing the Spectator on the Scene of History: The battle re-enactment at the turn of the century, from Buffalo Bill's Wild West to the Early Cinema. Historical Journal of Film, Radio and Television: Vol. 22, No. 3, pp. 225-243
Uncle Tom, Goldilocks and the Rough Riders
Journal Article Uncle Tom, Goldilocks and the Rough Riders: early cinema's encounter with empire Get access Kristen Whissel Kristen Whissel Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 40, Issue 4, Winter 1999, Pages 384–404, https://doi.org/10.1093/screen/40.4.384 Published: 01 December 1999
Placing the Spectator on the Scene of History
(2002). Placing the Spectator on the Scene of History: The battle re-enactment at the turn of the century, from Buffalo Bill's Wild West to the Early Cinema. Historical Journal of Film, Radio and Television: Vol. 22, No. 3, pp. 225-243
Regulating Mobility
Uncle Tom, Goldilocks and the Rough Riders
Journal Article Uncle Tom, Goldilocks and the Rough Riders: early cinema's encounter with empire Get access Kristen Whissel Kristen Whissel Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 40, Issue 4, Winter 1999, Pages 384–404, https://doi.org/10.1093/screen/40.4.384 Published: 01 December 1999
Regulating Mobility
Placing the Spectator on the Scene of History
(2002). Placing the Spectator on the Scene of History: The battle re-enactment at the turn of the century, from Buffalo Bill's Wild West to the Early Cinema. Historical Journal of Film, Radio and Television: Vol. 22, No. 3, pp. 225-243
Tales of Upward Mobility
This article investigates a new cinematic spatial dialectics enabled by digital special effects. Focusing on blockbuster films from a range of genres (martial arts, disaster, comic-book, and science-fiction films), it approaches digitally enhanced “verticality” as a mode of cinematic representation designed to exploit the visual pleasures of power and powerlessness
Parallax Effects
This article puts Alfonso Curaon’s Gravity 3D (2013) into dialogue with 19th- and 20th-century writings on the stereoscope in order to show how digital 3D cinema remediates stereoscopic 3D aesthetics to effects that extend beyond the production of an immersive sensory experience. Recent digital 3D films update for a new media environment the tendency of the stereoscopic 3D image to tie z-depth (or positive parallax) with the desire to see and kno…
Dial M for Murder
In Alfred Hitchcock’s Dial M for Murder (1954), 3D facilitates the film’s organization of the scopic and epistemological pleasures of the detective thriller around the perceptual experience of the uncanny. By filtering its décor through stereo-aesthetics, Dial M articulates a postwar dread of dispossession, challenges the spectator’s efforts to feel ‘at home’ in the depicted space and in the space of reception, and dramatizes how the (violent) vi…
Art (6 works) · Cinema and Media Studies (6 works) · Aesthetics (4 works) · Literature (4 works) · Movie theater (4 works) · Art history (3 works) · Computer Science (3 works) · Epistemology (3 works) · Philosophy (3 works) · Ancient history (2 works)