Academic literature on the topic 'Jonze, Spike'
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Journal articles on the topic "Jonze, Spike"
Piro, Antonio. "Her, regista Spike Jonze." IPNOSI, no. 1 (July 2014): 65–66. http://dx.doi.org/10.3280/ipn2014-001005.
Full textGelly, Christophe. "Her (Spike Jonze, 2013): Digital Romance and Post-cinema." Ekphrasis. Images, Cinema, Theory, Media 22, no. 2 (November 27, 2019): 41–53. http://dx.doi.org/10.24193/ekphrasis.22.3.
Full textCodato, Henrique. "O corpo e a voz no cinema contemporâneo: reflexões sobre o filme Ela (Her, 2013), de Spike Jonze." Significação: Revista de Cultura Audiovisual 44, no. 46 (December 21, 2016): 106. http://dx.doi.org/10.11606/issn.2316-7114.sig.2016.120992.
Full textBiles, Jeremy. "Her. Film. Directed by Spike Jonze. Warner Bros. Pictures, 2013." Religious Studies Review 40, no. 4 (December 2014): 217–18. http://dx.doi.org/10.1111/rsr.12174_4.
Full textJagoe, Eva-Lynn. "Depersonalized Intimacy: The Cases of Sherry Turkle and Spike Jonze." ESC: English Studies in Canada 42, no. 1-2 (2016): 155–73. http://dx.doi.org/10.1353/esc.2016.0004.
Full textPinto, Julio. "I love HER." Dispositiva 6, no. 9 (May 9, 2017): 30. http://dx.doi.org/10.5752/p.2237-9967.2017v6n9p30.
Full textTsyrkun, Nina A. "ACOUSMETRE AS A MODE OF FEMALE SUBJECTIVITY IN SPIKE JONZE’ HER." Articult, no. 1 (2019): 103–7. http://dx.doi.org/10.28995/2227-6165-2019-1-103-107.
Full textAnnesley, James. "Being Spike Jonze: Intertextuality and convergence in film, music video and advertising." New Cinemas: Journal of Contemporary Film 11, no. 1 (March 1, 2013): 23–37. http://dx.doi.org/10.1386/ncin.11.1.23_1.
Full textRepass, Scott. "Being John Malkovich." Film Quarterly 56, no. 1 (2002): 29–36. http://dx.doi.org/10.1525/fq.2002.56.1.29.
Full textLavin, Sylvia. "Review: Scenes from the Suburbs by Spike Jonze; The Wilderness Downtown by Chris Milk." Journal of the Society of Architectural Historians 70, no. 3 (September 1, 2011): 398–400. http://dx.doi.org/10.1525/jsah.2011.70.3.398.
Full textDissertations / Theses on the topic "Jonze, Spike"
Devereaux, Michelle Leigh. "Spirits in solitude : romanticism in the films of Sofia Coppola, Spike Jonze, Charlie Kaufman, and Wes Anderson." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25748.
Full textFidler, Tristan. "Music video auteurs : the directors label DVDs and the music videos of Chris Cunningham, Michel Gondry and Spike Jonze." University of Western Australia. School of Social and Cultural Studies, 2007. http://theses.library.uwa.edu.au/adt-WU2008.0251.
Full textAkkan, Goksu. "Audiovisual representations of Artificial Intelligence in Dystopian Tech Societies: Scaremongering or Reality? The Cases of Black Mirror (Charlie Brooker, 2011), Ex Machina (Alex Garland, 2017) and Her (Spike Jonze, 2014)." Doctoral thesis, Universitat Ramon Llull, 2021. http://hdl.handle.net/10803/671832.
Full textLa inteligencia artificial es un concepto que fascina a la humanidad durante milenios. Desde la antigüedad, los humanos han estado obsesionados con la idea de crear un humano artificial perfecto para diferentes fines, como la compañía o la ayuda doméstica, y han escrito sobre ello en textos fundacionales de diversas culturas. Esto se convirtió progresivamente en literatura de protofantasía o proto-ciencia ficción en la Alta Edad Media. Sin embargo, no fue hasta el siglo XIX cuando la influyente obra Frankenstein (1818) de Mary Shelley reunió diferentes aspectos de la creación de un ser humano artificial, discutidos dentro de una comprensión psicológica y social más amplia. Con la llegada de los medios audiovisuales en el siglo XX, estas representaciones de humanoides creados artificialmente o de otras creaciones con cierto grado de conciencia han poblado tanto la gran pantalla como la televisión. Esta tesis se centra en las conexiones sociales de dichas representaciones de la Inteligencia Artificial, centrándose en la serie de televisión Black Mirror (Charlie Brooker, 2011), así como en las películas Ex Machina (Alex Garland, 2014) y Her (Spike Jonze, 2014), analizando las relaciones entre la Inteligencia Artificial y los humanos desde una variedad de perspectivas y paradigmas diferentes. El análisis audiovisual de las obras seleccionadas va seguido de una exploración sobre cómo estos avances tecnológicos recientes se están produciendo en nuestra sociedad actual, vinculándolos con las advertencias que formulan las obras seleccionadas y ofreciendo una lectura de futuro que requiere la implementación de una estricta normativa en torno a la Inteligencia Artificial para aliviar las ansiedades humanas sobre la tecnología. Palabras clave: inteligencia artificial, tecnología, sociedad, ciencia ficción, distopía, estudios cinematográficos.
Artificial Intelligence has been a concept that has infatuated humankind for millennia. Since antiquity, humans have been obsessed with the idea of creating a perfect artificial human for different aims such as companionship or domestic help, and ancient cultures have devoted foundational texts to the artificial human. This literary occupation gradually evolved into proto-fantasy or proto-Science Fiction literature in the early middle ages. However, it wasn’t until the 19th century that Mary Shelley’s influential work Frankenstein (1818) brought together different aspects of creating an artificial human discussed within a broader social and psychological understanding. With the advent of audiovisual media in the 20th century, such representations of artificially created humanoids or other creations with some degree of consciousness have populated both the silver screen and television. This thesis focuses on the societal connections between such representations of Artificial Intelligence, focusing on the TV show Black Mirror (Charlie Brooker, 2011) as well as the films Ex Machina (Alex Garland, 2014) and Her (Spike Jonze, 2014) by analyzing the Artificial Intelligence - human relationships from a variety of different perspectives and paradigms. The audiovisual analyses of the selected works are then followed by an examination of how such recent technological developments are taking place in our current society. These texts under examination exhort us to beware the potential dangers of AI technology, which require implementation of strict regulations around the Artificial Intelligence framework in order to alleviate human anxieties about technology. Keywords: Artificial Intelligence, technology, technology and society, Science Fiction, dystopia, film studies, society.
Books on the topic "Jonze, Spike"
There are many of us: A companion to the short film, I'm here, by Spike Jonze. San Francisco, CA: McSweeney's books, 2010.
Find full textJonze, Spike. Spike Jonze: I'm Here. Nieves, 2010.
Find full textReFocus: The Films of Spike Jonze. Edinburgh University Press, 2019.
Find full textWilkins, Kim, and Wyatt Moss-Wellington, eds. ReFocus: The Films of Spike Jonze. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.001.0001.
Full textDevereaux, Michelle. The Stillness of Solitude. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474446044.001.0001.
Full textBook chapters on the topic "Jonze, Spike"
Brereton, Pat. "Independent New Smart Creatives and Niche Marketing – Case Studies of Richard Linklater, Spike Jonze, Christopher Nolan and Michel Gondry." In Smart Cinema, DVD Add-Ons and New Audience Pleasures, 43–62. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137027085_3.
Full textCarpi, Daniela. "The Technological “Monstrum”: Her by Spike Jontze (2013)." In Monsters and Monstrosity, edited by Daniela Carpi, 77–88. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110654615-005.
Full textStorck, Timo. "S.O.S – Spike Jonzes Her als ein Film über Beziehungsvorstellungen und Trauerprozesse (US 2003)." In Von La Strada bis The Hours - Leidende und souveräne Frauen im Spielfilm, 331–44. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62681-8_23.
Full textFelando, Cynthia. "Spike Jonze Shorts Stories." In ReFocus: The Films of Spike Jonze, 195–212. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0011.
Full textMoss-Wellington, Wyatt. "Spike Jonze’s Screenwriting: The Screenplay." In ReFocus: The Films of Spike Jonze, 105–36. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0007.
Full textWilkins, Kim, and Wyatt Moss-Wellington. "Introduction: Jonze Between the Lines." In ReFocus: The Films of Spike Jonze, 1–12. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0001.
Full textTzioumakis, Yannis. "Converging Indiewood: Spike Jonze, Propaganda Films, and the Emergence of Specialty Film Giant USA Films." In ReFocus: The Films of Spike Jonze, 46–64. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0004.
Full textWestrup, Laurel. "Spike Jonze’s Abbreviated Art of the Suburbs." In ReFocus: The Films of Spike Jonze, 231–47. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0013.
Full textMoss-Wellington, Wyatt. "Adaptation in Adaptation in Adaptation in Adaptation." In ReFocus: The Films of Spike Jonze, 15–32. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0002.
Full textFalvey, Eddie. "“I’ll eat you up I love you so”: Adaptation, Authorship, and Intermediality in Spike Jonze’s Where the Wild Things Are." In ReFocus: The Films of Spike Jonze, 33–45. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0003.
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