Miriam Ro
Biographic Data
| ID | 3947848 |
|---|---|
| NAME | Miriam Ro |
| GIVEN NAMES | Miriam |
| FAMILY NAME | Ro |
| SIGNATURE | RO M |
| AFFILIATIONS | Victoria University of Wellington |
| ORCID | 0000-0003-3932-6617 |
| VERIFIED | Yes |
| TOTAL WORKS | 12 |
| TOTAL CITATIONS | 24 |
| WORKS AS AUTHOR | 12 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2009 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 3 |
Technological affordances versus narrative delivery
Subsequent to virtual reality (VR) technologies becoming cheaper and more accessible, a new generation of practitioners have focused on the affordances and opportunities that VR can offer to storytelling. A recurring concern is how to understand the value of VR’s interactivity and how its additional, spatialised, audiovisual data can aid storytelling rather than provide surplus distraction. By focusing on three specific areas – interactive afford…
Fourth VR
Indigenous creators are currently using virtual reality (VR) tools, techniques and workflows in wide-ranging geographical locations and across multiple VR formats. Their radical adaptation of this new technology folds together cultural traditions and VR’s unique audiovisual configurations to resist dominant, particularly colonial, frameworks. Within this context, we ask how VR is being used to create space and capacity for Indigenous creatives to…
Simulation and flesh
At the turn of the twentieth century, ideas and technologies coalesced around the realisation of what Kim Timby calls the integral-image utopia: the complete simulation of the natural world. Later described as total cinema in the 1940s by André Bazin and René Barjavel, attention was placed on materially representing the sensible world through moving-image photography, sound, colour and depth. Yet only brief consideration was given to the flesh of…
From the material to the virtual
Journal Article From the material to the virtual: the pornographic body in stereoscopic photography, 3D cinema and virtual reality Get access Miriam Ross Miriam Ross E-mail: [email protected] Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 60, Issue 4, Winter 2019, Pages 548–566, https://doi.org/10.1093/screen/hjz039 Published: 11 December 2019
PND
Contemporary Virtual Reality production often relies on increasing visual fidelity in order to enhance the creation of deep-space 360-degree worlds. In turn, performance is situated as one component of realist space that needs high-resolution images in order to support it. This paper considers what happens when this visual fidelity is foregone in favour of the production of a haptic, tactile visuality that draws attention to the material qualitie…
Virtual Reality’s New Synesthetic Possibilities
In its current, popular manifestation, Virtual Reality (VR) represents the culmination of more than two centuries of screen practice aimed at creating greater immersion. VR’s optical illusions produce an expanded multisensory immersive experience that enhances the viewer’s interior position within new space. This article questions where embodiment and disembodiment lie in VR’s multisensory optical illusion and whether there is a difference produc…
Interstitial film viewing
In the twenty-first century, we live in an era in which the film object (more often than not the traditionally formatted 1.5–2-hour-long feature film) enters the digital space of the computer screen to be viewed, paused, re-edited and mashed-up while, at the same time, large audiences continue to attend standardized movie theatres, where their only control over film exhibition is in the decision to look or not look at what the projector offers. C…
IResponse to Thomas Elsaesser
The 3-D aesthetic
As 3-D films increased in popularity throughout the beginning of the twenty-first century, various predictions were made concerning their likely domination of the theatrical market or their future demise. Although Avatar (James Cameron, 2009) was heralded for its sophisticated use of stereoscopic technology, other films such as Alice in Wonderland (Tim Burton, 2010) and Clash of the Titans (Louis Leterrier, 2010) were criticized for using cheap p…
The film festival as producer
Journal Article The film festival as producer: Latin American Films and Rotterdam's Hubert Bals Fund Get access Miriam Ross Miriam Ross [email protected] Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 52, Issue 2, Summer 2011, Pages 261–267, https://doi.org/10.1093/screen/hjr014 Published: 01 July 2011
Audiovisual laws and legal intervention in South American cinematic culture
In South America, various state organizations have an investment in producing some kind of ‘national’ cinema. Although different countries around the world have varied levels of government involvement, the four countries I would like to examine – Argentina, Bolivia, Chile and Peru – can be drawn upon for their similarities and the shared regional context in which their policies operate. Particularly important is the fact that an increase in gover…
Confronting the 'Dirty War' in Argentine Cinema, 1983-1993
Over the last three decades the political cinema of Latin America has been extensively documented in English-language criticism, raising the question of why we need to return to this theme in a text on Argentina's ‘Dirty War’ cinema. We might also question the return to a particularly national context when transnationalism and border-crossing have become the more popular trends in recent scholarship. What is immediately apparent is that this book…
The film festival as producer
Journal Article The film festival as producer: Latin American Films and Rotterdam's Hubert Bals Fund Get access Miriam Ross Miriam Ross [email protected] Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 52, Issue 2, Summer 2011, Pages 261–267, https://doi.org/10.1093/screen/hjr014 Published: 01 July 2011
The 3-D aesthetic
As 3-D films increased in popularity throughout the beginning of the twenty-first century, various predictions were made concerning their likely domination of the theatrical market or their future demise. Although Avatar (James Cameron, 2009) was heralded for its sophisticated use of stereoscopic technology, other films such as Alice in Wonderland (Tim Burton, 2010) and Clash of the Titans (Louis Leterrier, 2010) were criticized for using cheap p…
Virtual Reality’s New Synesthetic Possibilities
In its current, popular manifestation, Virtual Reality (VR) represents the culmination of more than two centuries of screen practice aimed at creating greater immersion. VR’s optical illusions produce an expanded multisensory immersive experience that enhances the viewer’s interior position within new space. This article questions where embodiment and disembodiment lie in VR’s multisensory optical illusion and whether there is a difference produc…
From the material to the virtual
Journal Article From the material to the virtual: the pornographic body in stereoscopic photography, 3D cinema and virtual reality Get access Miriam Ross Miriam Ross E-mail: [email protected] Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 60, Issue 4, Winter 2019, Pages 548–566, https://doi.org/10.1093/screen/hjz039 Published: 11 December 2019
Interstitial film viewing
In the twenty-first century, we live in an era in which the film object (more often than not the traditionally formatted 1.5–2-hour-long feature film) enters the digital space of the computer screen to be viewed, paused, re-edited and mashed-up while, at the same time, large audiences continue to attend standardized movie theatres, where their only control over film exhibition is in the decision to look or not look at what the projector offers. C…
Confronting the 'Dirty War' in Argentine Cinema, 1983-1993
Over the last three decades the political cinema of Latin America has been extensively documented in English-language criticism, raising the question of why we need to return to this theme in a text on Argentina's ‘Dirty War’ cinema. We might also question the return to a particularly national context when transnationalism and border-crossing have become the more popular trends in recent scholarship. What is immediately apparent is that this book…
Confronting the 'Dirty War' in Argentine Cinema, 1983-1993
Over the last three decades the political cinema of Latin America has been extensively documented in English-language criticism, raising the question of why we need to return to this theme in a text on Argentina's ‘Dirty War’ cinema. We might also question the return to a particularly national context when transnationalism and border-crossing have become the more popular trends in recent scholarship. What is immediately apparent is that this book…
Audiovisual laws and legal intervention in South American cinematic culture
In South America, various state organizations have an investment in producing some kind of ‘national’ cinema. Although different countries around the world have varied levels of government involvement, the four countries I would like to examine – Argentina, Bolivia, Chile and Peru – can be drawn upon for their similarities and the shared regional context in which their policies operate. Particularly important is the fact that an increase in gover…
The film festival as producer
Journal Article The film festival as producer: Latin American Films and Rotterdam's Hubert Bals Fund Get access Miriam Ross Miriam Ross [email protected] Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 52, Issue 2, Summer 2011, Pages 261–267, https://doi.org/10.1093/screen/hjr014 Published: 01 July 2011
The 3-D aesthetic
As 3-D films increased in popularity throughout the beginning of the twenty-first century, various predictions were made concerning their likely domination of the theatrical market or their future demise. Although Avatar (James Cameron, 2009) was heralded for its sophisticated use of stereoscopic technology, other films such as Alice in Wonderland (Tim Burton, 2010) and Clash of the Titans (Louis Leterrier, 2010) were criticized for using cheap p…
Interstitial film viewing
In the twenty-first century, we live in an era in which the film object (more often than not the traditionally formatted 1.5–2-hour-long feature film) enters the digital space of the computer screen to be viewed, paused, re-edited and mashed-up while, at the same time, large audiences continue to attend standardized movie theatres, where their only control over film exhibition is in the decision to look or not look at what the projector offers. C…
IResponse to Thomas Elsaesser
PND
Contemporary Virtual Reality production often relies on increasing visual fidelity in order to enhance the creation of deep-space 360-degree worlds. In turn, performance is situated as one component of realist space that needs high-resolution images in order to support it. This paper considers what happens when this visual fidelity is foregone in favour of the production of a haptic, tactile visuality that draws attention to the material qualitie…
Virtual Reality’s New Synesthetic Possibilities
In its current, popular manifestation, Virtual Reality (VR) represents the culmination of more than two centuries of screen practice aimed at creating greater immersion. VR’s optical illusions produce an expanded multisensory immersive experience that enhances the viewer’s interior position within new space. This article questions where embodiment and disembodiment lie in VR’s multisensory optical illusion and whether there is a difference produc…
From the material to the virtual
Journal Article From the material to the virtual: the pornographic body in stereoscopic photography, 3D cinema and virtual reality Get access Miriam Ross Miriam Ross E-mail: [email protected] Search for other works by this author on: Oxford Academic Google Scholar Screen, Volume 60, Issue 4, Winter 2019, Pages 548–566, https://doi.org/10.1093/screen/hjz039 Published: 11 December 2019
Fourth VR
Indigenous creators are currently using virtual reality (VR) tools, techniques and workflows in wide-ranging geographical locations and across multiple VR formats. Their radical adaptation of this new technology folds together cultural traditions and VR’s unique audiovisual configurations to resist dominant, particularly colonial, frameworks. Within this context, we ask how VR is being used to create space and capacity for Indigenous creatives to…
Simulation and flesh
At the turn of the twentieth century, ideas and technologies coalesced around the realisation of what Kim Timby calls the integral-image utopia: the complete simulation of the natural world. Later described as total cinema in the 1940s by André Bazin and René Barjavel, attention was placed on materially representing the sensible world through moving-image photography, sound, colour and depth. Yet only brief consideration was given to the flesh of…
Technological affordances versus narrative delivery
Subsequent to virtual reality (VR) technologies becoming cheaper and more accessible, a new generation of practitioners have focused on the affordances and opportunities that VR can offer to storytelling. A recurring concern is how to understand the value of VR’s interactivity and how its additional, spatialised, audiovisual data can aid storytelling rather than provide surplus distraction. By focusing on three specific areas – interactive afford…
Art (9 works) · Cinema and Media Studies (8 works) · Computer Science (7 works) · Aesthetics (5 works) · Movie theater (5 works) · Sociology (5 works) · Virtual reality (5 works) · Digital Games and Media (4 works) · Human–computer interaction (4 works) · Visual arts (4 works)