Digital Audiovisual Media Class Blog

Many people feared the ever lasting changes that would come with the distribution and implementation of the internet into daily activites such as television itself. For one, Jenner (2018) recalls an Emmy sketch in which people thought that streaming services and shows were going to take over television all together. Just a couple of years…

Last year I completed my BA Sociology dissertation focussing on the embodied experiences of gender from the personal accounts of transgender individuals. Using arts based research, participants created two “visual representations of [their] gender identity,” (Burgess 2023:2) from both their perspective, and the perspective of wider society. As such, the two drawings produced by each…

In his essay Post Cinematic Affect, Shaviro (2016) examines the relationship between film, affect and emotion through the lens of neoliberal economics, drawing parallels between the flows of affect/emotion and financial flows.  He argues that affect operates on an experiential, unconscious plane, often on a physical/bodily level and is not ‘ownable or recognisable’. Conversely, emotion…

21st century post cinema, is the contemporary situation of moving images for example the movie detention that is multi layered post-ironic, has referential construction of both new and old  Post cinema is both a continuation and a break from legacy cinema and past cinema, it is important that this transitions in audiovisual media reflects both…

This blog is based on week 3 lecture content.  Post-cinematic form introduces a new and novel form of visceral, kinaesthetic play and operative learning which in turn introduces a new intuitive sense of possibility (Denson & Leyda, 2016)， this brings my attention to two works that have benefited from post-cinematic form in recent years： Dreamcore and the Backrooms, they…

Netflix is a driving force in changing how television is organised and will be organised in the future (Jenner, 2018). From its tailored algorithms, post-play functions and most importantly, its binge release strategy, Netflix has undeniably emerged as a catalytic force in the world of non-linear television, not only revolutionising how we consume content but…

In 2022, I got a chance to attend an exclusive 4D-cinema-viewing of David Leitch’s comic-action film, Bullet Train. With various visual pizzaz within the confines of a titular bullet train, high-budget CGI scenarios and wreckage, and violently accelerated motion combined with rapid cuts and non-linear narrative that overwhelmed my senses, I witnessed a whole new…

“Everybody’s story should be represented at all times in television…That doesn’t just get solved by a show, it gets solved by the nature of what television is. A show can be a pillar that’s holding up representation for a period of time, but it can’t do it permanently, so the work continues” Landgraf in Turchiano,…

Love Death and Robots，co-produced by Tim Miller and David Fincher，is a series of animated shorts that employ a diverse range of animation styles, with each episode being a stand-alone story. The narrative, which is presented in a semi-propositional style, discusses a lot of topics including emotion, perception and experiencing post-cinematic emotions in the age of…