東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Licensed to shill: How video and com...

Ruggill, Judd Ethan.

FindBook

Google Book

Amazon

博客來

Licensed to shill: How video and computer games tarnished the silver screen.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Licensed to shill: How video and computer games tarnished the silver screen./
作者:	Ruggill, Judd Ethan.
面頁冊數:	125 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-12, Section: A, page: 4379.
Contained By:	Dissertation Abstracts International65-12A.
標題:	Cinema. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3158216
ISBN:	9780496907984

Licensed to shill: How video and computer games tarnished the silver screen.
Ruggill, Judd Ethan.

Licensed to shill: How video and computer games tarnished the silver screen. - 125 p.

Source: Dissertation Abstracts International, Volume: 65-12, Section: A, page: 4379.

Thesis (Ph.D.)--The University of Arizona, 2005.

This dissertation outlines the material and aesthetic origins of the game film in order to show how video and computer games are altering film's role in the media economy specifically, and the form and function of the mass media more generally. I argue that game cinematization is emblematic of the culture industries' (1) new economic practices and (2) aesthetic and technological convergence. Chapter One introduces the dissertation and offers a precis of the history of film-based licensing in the U.S. In the chapter, I suggest that one of the primary functions of American commercial film is to brand and sell consumer goods, and that understanding the origins of this licensing function is crucial to understanding how games are redefining it. Chapter Two provides a political economy of the institutional and industrial factors that made the game film possible, focusing specifically on a sea change in game business during the late 1980s, and the joint Congressional hearings on game violence in the early 1990s. Chapter Three complements Chapter Two's historical materialist analysis with a textual one, analyzing why game films seem to draw primarily from a single genre---the fighting game. The fighting game's ability to facilitate "safe looking," along with the ways fighting games embody the very essence of genre, have helped ease the transformation of game content into film content. Chapter Four revisits Chapters Two and Three in order to show how the material and aesthetic forces that birthed the game film are among the most influential forces affecting film today. The chapter analyzes the evolution of media makers' attempts to explore and exploit the game medium, and describes the ways games have begun to reshape film business, production, and aesthetics.

ISBN: 9780496907984Subjects--Topical Terms:

854529
Cinema.

Licensed to shill: How video and computer games tarnished the silver screen.
LDR:02673nmm 2200277 4500 001 1827165
005 20061222091109.5
008 130610s2005 eng d
020 $a 9780496907984
035 $a (UnM)AAI3158216
035 $a AAI3158216
040 $a UnM $c UnM
100 1 $a Ruggill, Judd Ethan. $3 1916111
245 1 0 $a Licensed to shill: How video and computer games tarnished the silver screen.
300 $a 125 p.
500 $a Source: Dissertation Abstracts International, Volume: 65-12, Section: A, page: 4379.
500 $a Director: Caren J. Deming.
502 $a Thesis (Ph.D.)--The University of Arizona, 2005.
520 $a This dissertation outlines the material and aesthetic origins of the game film in order to show how video and computer games are altering film's role in the media economy specifically, and the form and function of the mass media more generally. I argue that game cinematization is emblematic of the culture industries' (1) new economic practices and (2) aesthetic and technological convergence. Chapter One introduces the dissertation and offers a precis of the history of film-based licensing in the U.S. In the chapter, I suggest that one of the primary functions of American commercial film is to brand and sell consumer goods, and that understanding the origins of this licensing function is crucial to understanding how games are redefining it. Chapter Two provides a political economy of the institutional and industrial factors that made the game film possible, focusing specifically on a sea change in game business during the late 1980s, and the joint Congressional hearings on game violence in the early 1990s. Chapter Three complements Chapter Two's historical materialist analysis with a textual one, analyzing why game films seem to draw primarily from a single genre---the fighting game. The fighting game's ability to facilitate "safe looking," along with the ways fighting games embody the very essence of genre, have helped ease the transformation of game content into film content. Chapter Four revisits Chapters Two and Three in order to show how the material and aesthetic forces that birthed the game film are among the most influential forces affecting film today. The chapter analyzes the evolution of media makers' attempts to explore and exploit the game medium, and describes the ways games have begun to reshape film business, production, and aesthetics.
590 $a School code: 0009.
650 4 $a Cinema. $3 854529
650 4 $a Mass Communications. $3 1017395
690 $a 0900
690 $a 0708
710 2 0 $a The University of Arizona. $3 1017508
773 0 $t Dissertation Abstracts International $g 65-12A.
790 1 0 $a Deming, Caren J., $e advisor
790 $a 0009
791 $a Ph.D.
792 $a 2005
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3158216