A stimulating, eclectic accountof new media that finds its origins in old media, particularly the cinema. In this book Lev Manovich offers the first systematic and rigorous theory of new media. He places new media within the histories of visual and media cultures of the last few centuries. He discusses new media's reliance on conventions of old media, such as the rectangular frame and mobile camera, and shows how new media works create the illusion of reality, address the viewer, and represent space. He also analyzes categories and forms unique to new media, such as interface and database. Manovich uses concepts from film theory, art history, literary theory, and computer science and also develops new theoretical constructs, such as cultural interface, spatial montage, and cinegratography. The theory and history of cinema play a particularly important role in the book. Among other topics, Manovich discusses parallels between the histories of cinema and of new media, digital cinema, screen and montage in cinema and in new media, and historical ties between avant-garde film and new media.
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This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
In this award-winning debut collection, fifteen magical realism stories portray girls and women searching for an escape from their everyday lives. “In villages where women bore most of the weight of a constricted life, witches flew by night on broomsticks,” said Italo Calvino of the way imagination bridges the gap between everyday existence and an idealized alternative . . . The fifteen stories of Animal Wife are unified by girls and women who cross this threshold seeking liberation from family responsibilities, from societal expectations, from their own minds. A girl born with feathers undertakes a quest for the mother who abandoned her. An indecisive woman drinks Foresight, only to become stymied by the futures branching before her. A proofreader cultivates a cage-fighting alter ego. A woman becomes psychologically trapped in her car. A girl acts on her desire for a childhood friend as a monster draws closer to the shore. A widow invites a bear to hibernate in her den . . . Animal Wife was selected as the winner of the Red Hen Fiction Award by New York Times– bestselling author Ann Hood, who says, “From the first sentence Animal Wife grabbed me and never let go. Sensual and intelligent, with gorgeous prose, it made me dizzy with its exploration and illumination of the inner and outer lives of girls and women.” Praise for Animal Wife “Whimsy and fantasy meet the way things really turn out in stories from a strong new voice.” —Kirkus Reviews “Strange, funny, fearsome, Animal Wife is a gorgeous book, weird in its very bones.” —Elizabeth McCracken, author of Bowlaway: A Novel “Lara Ehrlich has written a collection of stories that allow for escapism.” —F(r)iction “I was particularly intrigued by the way Lara beautifully portrays the inner struggle between wildness and domesticity, the surreal elements of each story lending a mythical complexity to these conflicts. Really lovely and thought-provoking. Perfect for fans of Aimee Bender, Karen Russell, and Angela Carter.” —Joy Baglio, founder of Pioneer Valley Writer’s Workshop
“Kirby has mastered the art of short fiction…A stunning collection from a writer whose talent and creativity seem boundless.” —NPR “Kirby takes joy in subverting the reader’s expectations at every turn. Her characters might be naïve, even reckless, but they aren’t about to be victims: They’re strong, and brave, and nearly always capable of rescuing themselves.” —New York Times Book Review Margaret Atwood meets Buffy in these funny, warm, and furious stories of women at their breaking points, from Hellenic times to today. Cassandra may have seen the future, but it doesn't mean she's resigned to telling the Trojans everything she knows. In this ebullient collection, virgins escape from being sacrificed, witches refuse to be burned, whores aren't ashamed, and every woman gets a chance to be a radioactive cockroach warrior who snaps back at catcallers. Gwen E. Kirby experiments with found structures--a Yelp review, a WikiHow article--which her fierce, irreverent narrators push against, showing how creativity within an enclosed space undermines and deconstructs the constraints themselves. When these women tell the stories of their triumphs as well as their pain, they emerge as funny, angry, loud, horny, lonely, strong protagonists who refuse to be secondary characters a moment longer. From "The Best and Only Whore of Cym Hyfryd, 1886" to the "Midwestern Girl Is Tired of Appearing in Your Short Stories," Kirby is playing and laughing with the women who have come before her and they are telling her, we have always been this way. You just had to know where to look.