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Books on the topic 'Multimedia Narratives'

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Author: Grafiati

Published: 10 December 2022

Last updated: 28 January 2023

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1

The new digital storytelling: Creating narratives with new media. Santa Barbara, Calif: Praeger, 2011.

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2

Handbook of digital media production: A practical guide to the development of digital narratives on the web. Deer Park, N.Y: Linus Publications, Inc., 2009.

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3

American Institute of Graphic Arts, ed. Pause & effect: The art of interactive narrative. Indianapolis, Ind: New Riders, 2003.

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4

Location aware multimedia stories: A location based view of interactive narrative. Saarbrücken: Lambert Academic Publ., 2011.

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5

Kleine verhalen: Narrativiteit met multimedia in sociale beroepen. Bussum: Countinho, 2006.

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6

Drammaturgie multimediali: Media e forme narrative nell'epoca della replicabilità digitale. Milano: UNICOPLI, 2009.

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7

Feo, Marco. Cinema e fumetto: Verso un nuovo sviluppo narrativo multimediale. Novara: De Falco, 2004.

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8

Narrative as virtual reality: Immersion and interactivity in literature and electronic media. Baltimore: Johns Hopkins University Press, 2001.

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9

Hamlet on the holodeck: The future of narrative in cyberspace. Cambridge, Mass: MIT Press, 1997.

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10

Murray, Janet Horowitz. Hamlet on the holodeck: The future of narrative in cyberspace. Cambridge, Mass: MIT Press, 1997.

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11

Murray, Janet Horowitz. Hamlet on the holodeck: The future of narrative in cyberspace. New York: Free Press, 1997.

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12

Hamlet on the holodeck: The future of narrative in cyberspace. New York: Free Press, 1997.

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13

Murray, Janet Horowitz. Hamlet on the holodeck: The future of narrative in cyberspace. Cambridge, Mass: MIT Press, 1998.

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14

Itaú, Instituto Cultural, ed. Hamlet no holodeck: O futuro da narrativa no ciberspaço. São Paulo: UNESP, 2003.

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15

Corrigan, John, David J. BODENHAMER, and Trevor M. HARRIS. Deep Maps and Spatial Narratives. Indiana University Press, 2015.

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16

Corrigan, John, David J. BODENHAMER, and Trevor M. HARRIS. Deep Maps and Spatial Narratives. Indiana University Press, 2015.

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17

Aitken, Stuart, David Cooper, John Corrigan, David J. Bodenhamer, and Trevor M. Harris. Deep Maps and Spatial Narratives. Indiana University Press, 2015.

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18

Alexander, Bryan. New Digital Storytelling: Creating Narratives with New Media--Revised and Updated Edition, 2nd Edition. ABC-CLIO, LLC, 2017.

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19

New Digital Storytelling: Creating Narratives with New Media--Revised and Updated Edition, 2nd Edition. ABC-CLIO, LLC, 2017.

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20

Unsworth, Len, and Angela Thomas. English Teaching and New Literacies Pedagogy: Interpreting and Authoring Digital Multimedia Narratives. Lang Publishing, Incorporated, Peter, 2014.

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21

Unsworth, Len, and Angela Thomas. English Teaching and New Literacies Pedagogy: Interpreting and Authoring Digital Multimedia Narratives. Lang Publishing, Incorporated, Peter, 2014.

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22

Dyke, Ruth M. Van, and Reinhard Bernbeck. Subjects and Narratives in Archaeology. University Press of Colorado, 2015.

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23

Subjects and Narratives in Archaeology. University Press of Colorado, 2015.

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24

Tu, Duy Linh. Feature and Narrative Storytelling for Multimedia Journalists. Taylor & Francis Group, 2015.

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25

Tu, Duy Linh. Feature and Narrative Storytelling for Multimedia Journalists. Taylor & Francis Group, 2015.

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26

Tu, Duy Linh. Feature and Narrative Storytelling for Multimedia Journalists. Routledge, 2015. http://dx.doi.org/10.4324/9781315851297.

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27

Tu, Duy Linh. Feature and Narrative Storytelling for Multimedia Journalists. Taylor & Francis Group, 2015.

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28

Feature and Narrative Storytelling for Multimedia Journalists. Routledge, 2015.

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29

Narrative Design and Transmedia. Taylor & Francis Group, 2019.

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30

Interactive Digital Narrative. Taylor & Francis Group, 2015.

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31

Graham, Coulter-Smith, Owen Maurice, Walker James A, and Southampton Institute (Southampton, England). Fine Art Research Centre., eds. The visual-narrative matrix: Interdisciplinary collisions and collusions. Southampton: Fine Art Research Centre, Southampton Institute, 2000.

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32

Sezen, Tonguç İbrahim, Hartmut Koenitz, Mads Haahr, Gabriele Ferri, and Diğdem Sezen. Interactive Digital Narrative: History, Theory and Practice. Taylor & Francis Group, 2015.

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33

Koenitz, Hartmut, Mads Haahr, Gabriele Ferri, Di¿dem Sezen, and Tonguç ¿brahim Sezen. Interactive Digital Narrative: History, Theory and Practice. Taylor & Francis Group, 2017.

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34

Sezen, Tonguç İbrahim, Hartmut Koenitz, Mads Haahr, Gabriele Ferri, and Diğdem Sezen. Interactive Digital Narrative: History, Theory and Practice. Taylor & Francis Group, 2015.

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35

Hamlet on the Holodeck: The Future of Narrative in Cyberspace. The MIT Press, 2017.

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36

Huang, Vivian L. Surface Relations. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478023623.

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In Surface Relations Vivian L. Huang traces how Asian and Asian American artists have strategically reworked the pernicious stereotype of inscrutability as a dynamic antiracist, feminist, and queer form of resistance. Following inscrutability in literature, visual culture, and performance art since 1965, Huang articulates how Asian American artists take up the aesthetics of Asian inscrutability—such as invisibility, silence, unreliability, flatness, and withholding—to express Asian American life. Through analyses of diverse works by performance artists (Tehching Hsieh, Baseera Khan, Emma Sulkowicz, Tseng Kwong Chi), writers (Kim Fu, Kai Cheng Thom, Monique Truong), and video, multimedia, and conceptual artists (Laurel Nakadate, Yoko Ono, Mika Tajima), Huang challenges neoliberal narratives of assimilation that erase Asianness. By using sound, touch, and affect, these artists and writers create new frameworks for affirming Asianness as a source of political and social critique and innovative forms of life and creativity.<br><br>Duke University Press Scholars of Color First Book Award recipient

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37

Rogers, Holly. “Betwixt and Between” Worlds. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0001.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Video art can be highly intermedial. Image and sound are recorded and projected simultaneously, so the user can create live, audiovisual work. This chapter argues that the audience engagement encouraged by video art has changed significantly since it became commercially available. Early video works involved interactivity, intermediality, and the closed-circuit feed. They were often part of multimedia events rather than appearing on their own; therefore the early years of video work can be placed within a temporal, historical liminality. More recent pieces form a coherent body of work. Often shown on flat screens in darkened rooms, they offer predetermined audiovisual narratives that immerse visitors, placing them within a spatial liminality between the video world and the gallery space. Although context is vital to both styles, the activation of space and the audiovisual relationships within it are articulated and activated very differently.

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38

Digital Storytelling: The Narrative Power of Visual Effects in Film. The MIT Press, 2007.

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39

Ryan, Marie-Laure. Narrative As Virtual Reality: Immersion and Interactivity in Literature and Electronic Media (Parallax (Baltimore, MD.).). Johns Hopkins Univ Pr, 2000.

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40

Pause & Effect. San Jose: New Riders, 2007.

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41

Narrative as Virtual Reality 2: Revisiting Immersion and Interactivity in Literature and Electronic Media. Johns Hopkins University Press, 2015.

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42

Ryan, Marie-Laure. Narrative As Virtual Reality 2: Revisiting Immersion and Interactivity in Literature and Electronic Media. Johns Hopkins University Press, 2015.

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43

Woźniak, Monika, and Maria Wyke, eds. The Novel of Neronian Rome and its Multimedial Transformations. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198867531.001.0001.

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When in 1905 the Polish writer Henryk Sienkiewicz was awarded the Nobel Prize for Literature ‘for outstanding services as an epic writer’, it was his novel Quo vadis. A Narrative of the Time of Nero that motivated the committee to bestow this notable honour. The extraordinary international success of Quo vadis catapulted the author into literary stardom, placing him at the top of international league tables for the sheer quantity of his readers. But, before long, the historical novel began to detach itself from the person of its author and to become a multimedial, mass–culture phenomenon. In the West and East, Quo vadis was adapted for the stage and screen, provided the inspiration for works of music and other genres of literature, was transformed into comic strips and illustrated children’s books, and was cited in advertising and referenced in everyday objects of material culture. No work in English to date has explored in depth the mechanisms that released Quo vadis into mass circulation and the influence that its diverse spin-off forms exercised on other areas of culture—even on the reception and interpretation of the literary text itself. In the context of a robust scholarly interest in the processes of literary adaptation and classical reception, and set alongside the recent emergence of interest in the ‘Ben-Hur tradition’, this volume provides a coherent forum for a much-needed exploration, from various disciplinary and national perspectives, of the multimedial transformations of Quo vadis. Uniquely, also, for its English-speaking readers this collection of essays renders more visible the cultural conquests achieved by Poland on the world map of classical reception.

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44

Buhler, James. Neoformalism and Four Models of the Soundtrack. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0005.

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Chapter 5 considers the topic of formal theories and models, starting with the movement of so-called neoformalism in film studies. It opens by examining Kristin Thompson’s manifesto for the analytical approach of neoformalism, David Bordwell’s use of an analogy to musicology to formulate a research program for film studies, and Noël Carroll’s account of how music serves to modify the narrative situation. The chapter then considers four models of how the music subsystem works in relation to the other subsystems of film: Kathryn Kalinak’s “working model” for film music; Nicholas Cook’s model of pairwise multimedia interactions that is useful especially for disentangling and assessing the claims of other theories of media interaction; David Neumeyer’s model of the integrated soundtrack; and Annabel Cohen’s intricate cognitive model of how film music is perceived.

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45

Whitesell, Lloyd. Wonderful Design. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190843816.001.0001.

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Glamour is an elusive aspect of cinematic style. This book critically examines previous scholarship on glamour; defines the concept as a compound of artifice, allure, and magic; and examines the phenomenon at work in the genre of the film musical. The focus is on the role of music in representing glamour, and the stylistic and semiotic conventions by which glamour is embodied in sound. The book develops an analytical framework that applies across media, the better to appreciate music’s collaborative role within multimedia spectacle. First, glamour is situated as one of a handful of “style modes” orienting stylistic treatment in musical numbers. Second, glamour is shown to blend four distinct aesthetic parameters: sensuousness, restraint, elevation, and sophistication. Instead of being interpreted in relation to film narrative, the musical number is treated as a semiautonomous locus of meaning and expression, with its own formal demands and the power to eclipse narrative logic. Dozens of musical numbers are analyzed, drawn from more than eighty films, exploring glamour from the perspectives of arranging and orchestrational technique, the fantasies awoken in the spectator, and the invocation of magical belief. Anticonsumerist critiques of glamour are evaluated alongside counterarguments upholding glamour’s transformative and sustaining potential. Concluding discussion shows how the musical genre has affinities with the hybrid aesthetic of “magical realism.”

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46

Catapan, Edilson Antonio, ed. Education oriented principles and fundamentals. South Florida Publishing, 2021. http://dx.doi.org/10.47172/sfp2020.ed.0000012.

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The book “Education oriented principles and fundamentals 1 ST Edition, edited and published by South Florida Publishing, gathers five chapters that approach themes of relevance in the context of education and are available in Spanish. In the first chapter, a research is presented, whose objective is to provide the basis for a pro-student persistence model in higher education applicable in unfavorable socio-academic contexts. The second chapter presents a teaching model that is presented to design teaching as a basis for the use of cognitive strategies, and it is also necessary to establish different strategies to be able to pedagogically evaluate the performance of the student. The third chapter presents a search for a model for the assessment of competencies in basic education through a case study at the Los Pinos de Algeciras school. We are in the middle of the infant school. The fourth chapter, the importance of creating and dynamizing the narrative is supported by the promotion of emerging reading behaviors in day care centers. It is also intended to contribute to the reflection on the role of the educator / mediator in promoting an educational project that facilitates intervention in day care centers. The emerging literacy level. And finally, or the fifth chapter, as a novel educational experience, the application of the Flipped Classroom Model to the teaching of classical culture was drawn, highlighting the importance of the elaboration of interesting and motivating multimedia didactic materials for the students, supported by the use of the new technologies, to improve teaching practice by organizing work in the classroom in an active and participatory way. Thus, we thank all authors for their commitment and dedication to their work and we hope to be able to contribute to the scientific community, in the dissemination of knowledge and in the advancement of science.

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