LEADER 03308nam 2200553 450 001 9910821165603321 005 20200520144314.0 010 $a0-231-85097-2 024 7 $a10.7312/will17892 035 $a(CKB)3710000000841806 035 $a(MiAaPQ)EBC4579749 035 $a(DE-B1597)479869 035 $a(OCoLC)984665459 035 $a(DE-B1597)9780231850971 035 $a(Au-PeEL)EBL4579749 035 $a(CaPaEBR)ebr11294147 035 $a(CaONFJC)MIL986015 035 $a(OCoLC)962449443 035 $a(EXLCZ)993710000000841806 100 $a20161121h20162016 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aFast forward $ethe future(s) of the cinematic arts /$fHolly Willis 210 1$aLondon, [England] ;$aNew York, [New York] :$cWallflower Press,$d2016. 210 4$d©2016 215 $a1 online resource (201 pages) 311 $a0-231-17892-1 311 $a0-231-17893-X 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tAcknowledgments -- $tIntroduction The State of Things -- $tChapter 1. Past, Present, Future: Situating Post-Cinema -- $tChapter 2. New Practices / New Paradigms -- $tChapter 3. Live Cinema -- $tChapter 4. Urban Screens / Screened Urbanism -- $tChapter 5. Books to Watch, Films to Read, Stories to Touch: New Interfaces for Storytelling -- $tChapter 6. Virtual Reality and the Networked Self -- $tConclusion -- $tNotes -- $tBibliography -- $tIndex 330 $aCinema, the primary vehicle for storytelling in the twentieth century, is being reconfigured by new media in the twenty-first. Terms such as "worldbuilding," "virtual reality," and "transmedia" introduce new methods for constructing a screenplay and experiencing and sharing a story. Similarly, 3D cinematography, hypercinema, and visual effects require different modes for composing an image, and virtual technology, motion capture, and previsualization completely rearrange the traditional flow of cinematic production. What does this mean for telling stories? Fast Forward answers this question by investigating a full range of contemporary creative practices dedicated to the future of mediated storytelling and by connecting with a new generation of filmmakers, screenwriters, technologists, media artists, and designers to discover how they work now, and toward what end. From Chris Milk and Aaron Koblin's exploration of VR spherical filmmaking to Rebeca Méndez's projection and installation work exploring climate change to the richly mediated interactive live performances of the collective Cloud Eye Control, this volume captures a moment of creative evolution and sets the stage for imagining the future of the cinematic arts. 606 $aMotion pictures and television 606 $aMass media and language 606 $aMotion picture industry 615 0$aMotion pictures and television. 615 0$aMass media and language. 615 0$aMotion picture industry. 676 $a791.4509 700 $aWillis$b Holly$01630584 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910821165603321 996 $aFast forward$93968969 997 $aUNINA