Richard Misek
Dados Biográficos
| ID | 1601407 |
|---|---|
| NOME | Richard Misek |
| PRENOMES | Richard |
| SOBRENOME | Misek |
| ASSINATURA | MISEK R |
| AFILIAÇÕES | University of Kent |
| ORCID | 0000-0002-5870-521X |
| VERIFICADO | Sim |
| TOTAL DE OBRAS | 8 |
| TOTAL DE CITAÇÕES | 6 |
| OBRAS COMO AUTOR | 8 |
| OBRAS COMO EDITOR | 0 |
| PRIMEIRO ANO DE PUBLICAÇÃO | 2010 |
| ANO MAIS RECENTE DE PUBLICAÇÃO | 2023 |
| ÍNDICE H | 2 |
Beyond the “substitution effect”
The "pivot" to digital that many arts and culture organisations faced during the Covid-19 pandemic, revealed a complex nexus of effects that includes significant accessibility improvements (for example, for D/deaf and disabled audiences) but also a replication of many pre-existing exclusions.We argue that understanding the experiences of online audiences can help inform arts and culture organisations' next steps in adapting to the current period …
Real-time’ virtual reality and the limits of immersion
Trespassing Hollywood
In the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), "appropriation"-a mainstay of visual art since the mid-twentieth century-has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galle…
A History of Colour in British Film
Time-lapse and the projected body
The technique of time-lapse, which has been applied to all manner of subjects from the cellular to the celestial, has an ambiguous relationship with the human body. Whereas slow motion typically accentuates the force and aesthetics of physical movement, time-lapse tends to decorporealize human figures, projecting bodies forward through time while turning them into phantasmal projections in space. This article examines a number of experimental fil…
A cor digital
A unidade básica de imagens digitais é o pixel. Um pixel pode ser definido como uma unidade de valor cromático atribuída a um local específico da tela. Em um nível tecnológico, todas as imagens digitais incluem por consequência cor digital. A maneira com que eu me refiro à cor digital neste capítulo, contudo, é mais específica. Refiro-me a ela como a cor que resulta quando os valores cromáticos de uma imagem são manipulados digitalmente. A cor di…
Dead time
This article explores cinematic boredom. It investigates how feature films exemplify prevailing cultural attitudes towards boredom, and suggests that dominant cinema's fear of being ‘boring’ reflects a cultural refusal to address the implications of time passing. Most feature films kill time. The article analyses how and why they do so, and then explores what happens when a film refuses to kill time. By engaging with temporality, a film may risk …
The 'look' and how to keep it
Jacques Aumont has noted that, throughout screen history, filmmakers have tended to regard colour as something to be controlled.1 Between the rise of Technicolor in the mid 1930s and the emergence of digital cinema in the late 1990s, this typically involved controlling the colours that appeared in front of a film camera through techniques including production design, costume design, lens filtration and coloured lighting. Since the spread of Digit…
Beyond the “substitution effect”
The "pivot" to digital that many arts and culture organisations faced during the Covid-19 pandemic, revealed a complex nexus of effects that includes significant accessibility improvements (for example, for D/deaf and disabled audiences) but also a replication of many pre-existing exclusions.We argue that understanding the experiences of online audiences can help inform arts and culture organisations' next steps in adapting to the current period …
Dead time
This article explores cinematic boredom. It investigates how feature films exemplify prevailing cultural attitudes towards boredom, and suggests that dominant cinema's fear of being ‘boring’ reflects a cultural refusal to address the implications of time passing. Most feature films kill time. The article analyses how and why they do so, and then explores what happens when a film refuses to kill time. By engaging with temporality, a film may risk …
Dead time
This article explores cinematic boredom. It investigates how feature films exemplify prevailing cultural attitudes towards boredom, and suggests that dominant cinema's fear of being ‘boring’ reflects a cultural refusal to address the implications of time passing. Most feature films kill time. The article analyses how and why they do so, and then explores what happens when a film refuses to kill time. By engaging with temporality, a film may risk …
The 'look' and how to keep it
Jacques Aumont has noted that, throughout screen history, filmmakers have tended to regard colour as something to be controlled.1 Between the rise of Technicolor in the mid 1930s and the emergence of digital cinema in the late 1990s, this typically involved controlling the colours that appeared in front of a film camera through techniques including production design, costume design, lens filtration and coloured lighting. Since the spread of Digit…
A cor digital
A unidade básica de imagens digitais é o pixel. Um pixel pode ser definido como uma unidade de valor cromático atribuída a um local específico da tela. Em um nível tecnológico, todas as imagens digitais incluem por consequência cor digital. A maneira com que eu me refiro à cor digital neste capítulo, contudo, é mais específica. Refiro-me a ela como a cor que resulta quando os valores cromáticos de uma imagem são manipulados digitalmente. A cor di…
A History of Colour in British Film
Time-lapse and the projected body
The technique of time-lapse, which has been applied to all manner of subjects from the cellular to the celestial, has an ambiguous relationship with the human body. Whereas slow motion typically accentuates the force and aesthetics of physical movement, time-lapse tends to decorporealize human figures, projecting bodies forward through time while turning them into phantasmal projections in space. This article examines a number of experimental fil…
Trespassing Hollywood
In the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), "appropriation"-a mainstay of visual art since the mid-twentieth century-has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galle…
Real-time’ virtual reality and the limits of immersion
Beyond the “substitution effect”
The "pivot" to digital that many arts and culture organisations faced during the Covid-19 pandemic, revealed a complex nexus of effects that includes significant accessibility improvements (for example, for D/deaf and disabled audiences) but also a replication of many pre-existing exclusions.We argue that understanding the experiences of online audiences can help inform arts and culture organisations' next steps in adapting to the current period …
Art (7 obras) · Sociology (5 obras) · Cinema and Media Studies (4 obras) · Aesthetics (3 obras) · Computer Science (3 obras) · Movie theater (3 obras) · Visual arts (3 obras) · Art, Politics, and Modernism (2 obras) · Cultural Industries and Urban Development (2 obras) · Epistemology (2 obras)