Resumé
These films have themes of war and include film scenes that are ‘machinima’ (real-time animation made in 3D graphic environments) within live action film scenes. Machinima harnesses the possibilities of re-appropriating digital software, game engines, and other tools available in digital media. The machinima film scenes demonstrate how war-related stories resemiotize, such as how meaning-making transforms from a story in a war game context to a film context. Thereby, machinima exemplifies how DIY multimedia storytellers explore new ways to tell and to ‘animate’ stories.
The article contains four parts: introduction to machinima and the notions of resemiosis and authorial practice, presentation of DIY filmmaking as a practice that intertwines with new networked economics, analysis of the two DIY film projects, and discussion of the implications. Issues include IP (intellectual property) and copyrights when re-appropriating digital assets from commercial media platforms.
| Originalsprog | Engelsk |
|---|---|
| Tidsskrift | Convergence. The International Journal of Research into New Media Technologies |
| Vol/bind | 18 |
| Udgave nummer | 1 |
| Sider (fra-til) | 93-103 |
| Antal sider | 11 |
| ISSN | 1354-8565 |
| DOI | |
| Status | Udgivet - 1 feb. 2012 |
Emneord
- machinima
- filmproduktion
- krigsspil- og simulation
- medie forståelse
- semiotik
- forfatterskab
- ny økonomi
- IP (intellectual property)
- globalisering
Citer dette
}
Animated war : Perspectives on resemiosis and authorship applied to two DIY film projects. / Frølunde, Lisbeth.
I: Convergence. The International Journal of Research into New Media Technologies, Bind 18, Nr. 1, 01.02.2012, s. 93-103.Publikation: Bidrag til tidsskrift › Tidsskriftartikel › Forskning › peer review
TY - JOUR
T1 - Animated war
T2 - Perspectives on resemiosis and authorship applied to two DIY film projects
AU - Frølunde, Lisbeth
PY - 2012/2/1
Y1 - 2012/2/1
N2 - Two DIY (do-it-yourself) film projects are examined from perspectives of resemosis (transformations in meaning-making) and the textual production practices of contemporary multimedia authorship. These practices are considered as evolving in a complex media ecology. The two films are currently in production: Gzim Rewind (Sweden, 2011) by Knutte Wester, and In-World War (USA, expected 2011) by DJ Bad Vegan. These films have themes of war and include film scenes that are ‘machinima’ (real-time animation made in 3D graphic environments) within live action film scenes. Machinima harnesses the possibilities of re-appropriating digital software, game engines, and other tools available in digital media. The machinima film scenes demonstrate how war-related stories resemiotize, such as how meaning-making transforms from a story in a war game context to a film context. Thereby, machinima exemplifies how DIY multimedia storytellers explore new ways to tell and to ‘animate’ stories. The article contains four parts: introduction to machinima and the notions of resemiosis and authorial practice, presentation of DIY filmmaking as a practice that intertwines with new networked economics, analysis of the two DIY film projects, and discussion of the implications. Issues include IP (intellectual property) and copyrights when re-appropriating digital assets from commercial media platforms.
AB - Two DIY (do-it-yourself) film projects are examined from perspectives of resemosis (transformations in meaning-making) and the textual production practices of contemporary multimedia authorship. These practices are considered as evolving in a complex media ecology. The two films are currently in production: Gzim Rewind (Sweden, 2011) by Knutte Wester, and In-World War (USA, expected 2011) by DJ Bad Vegan. These films have themes of war and include film scenes that are ‘machinima’ (real-time animation made in 3D graphic environments) within live action film scenes. Machinima harnesses the possibilities of re-appropriating digital software, game engines, and other tools available in digital media. The machinima film scenes demonstrate how war-related stories resemiotize, such as how meaning-making transforms from a story in a war game context to a film context. Thereby, machinima exemplifies how DIY multimedia storytellers explore new ways to tell and to ‘animate’ stories. The article contains four parts: introduction to machinima and the notions of resemiosis and authorial practice, presentation of DIY filmmaking as a practice that intertwines with new networked economics, analysis of the two DIY film projects, and discussion of the implications. Issues include IP (intellectual property) and copyrights when re-appropriating digital assets from commercial media platforms.
KW - machinima
KW - filmproduktion
KW - krigsspil- og simulation
KW - medie forståelse
KW - semiotik
KW - forfatterskab
KW - ny økonomi
KW - IP (intellectual property)
KW - globalisering
KW - machinima
KW - multimedia
KW - IP (intellectual property)
KW - new economics
KW - media history
KW - video games
KW - globalization
KW - film production
KW - genre
U2 - 10.1177/1354856511419918
DO - 10.1177/1354856511419918
M3 - Journal article
VL - 18
SP - 93
EP - 103
JO - Convergence: The International Journal of Research into New Media Technologies
JF - Convergence: The International Journal of Research into New Media Technologies
SN - 1354-8565
IS - 1
ER -