Utopic horizons: cinematic geographies of travel and migration

Theoretically grounded in debates surrounding the production of space and mobility in contemporary cultural discourse, this thesis examines the role of film in these deterritorialised landscapes of theory and practice, in particular the shift from place-based geographies of travel and film to those of 'utopic' displacement. Focussed primarily on examples from contemporary European film, the thesis also considers the broader geo- historical contexts underpinning travel and filmic practices: for example, cinema's nascent links with the democratisation of travel and the construction of a touristic 'mobile virtual gaze' . In so far as these and other examples of 'travel film' can be said to discursively centre the 'voyager-voyeur' in geographies of home and placement, they invoke an 'Ulyssean gaze' of mythic circularity against which the utopic deterritorialisations of migrancy and transnational space are counterposed. It is these utopic horizons of travel - cinematic mobilities that pose dialectical challenges to hegemonic cartographies of place and space which this thesis sets out to explore. Mapping the utopic gaze in early and 'classic' (e)migrant films, I examine the extent to which the frontiers and horizons of utopic travel, predicated in these examples of spatio-temporal distance, could be said to have collapsed in a spatial conflation of presence and absence. In this analysis ellipses in space and time have increasingly displaced the representational spaces of the journey. Looking at a range of examples from contemporary film, I examine the dialectic between a displaced imaginary of utopic hope and the material non-places of transit, refuge and waiting which dominate these cinematic geographies; dialectic which maps affective spaces of stasis and transition. In the deterritorialised landscapes of postmodernity I argue that it is the agential and embodied mobilities of movement-in-itself - psychogeographic, oblique confrontations with hegemonic space - that constitutes the fullest realisation of the utopic. Far from valorising undialectical tropes of the 'open road' or of the rhizomatic, homeless 'nomad', these peripatetic, embodied mobilities are the product of a dialectic of stasis and transition in which the conflict between abstract and lived spaces of mobility is brought to the fore

Because I am Not Here, Selected Second Life-Based Art Case Studies. Subjectivity, Autoempathy and Virtual World Aesthetics

Second Life is a virtual world accessible through the Internet in which users create objects and spaces, and interact socially through 3D avatars. Certain artists use the platform as a medium for art creation, using the aesthetic, spatial, temporal and technological features of SL as raw material. Code and scripts applied to animate and manipulate objects, avatars and spaces are important in this sense. These artists, their avatars and artwork in SL are at the centre of my research questions: what does virtual existence mean and what is its purpose when stemming from aesthetic exchange in SL? Through a qualitative research method mixing distribute aesthetics, digital art and media theories, the goal is to examine aesthetic exchange in the virtual: subjectivity and identity and their possible shifting patterns as reflected in avatar-artists. A theoretical and methodological emphasis from a media studies perspective is applied to digital media and networks, contributing to the reshaping of our epistemologies of these media, in contrast to the traditional emphasis on communicational aspects. Four case studies, discourse and text analysis, as well as interviews in-world and via email, plus observation while immersed in SL, are used in the collection of data, experiences, objects and narratives from avatars Eva and Franco Mattes, Gazira Babeli, Bryn Oh and China Tracy. The findings confirm the role that aesthetic exchange in virtual worlds has in the rearrangement of ideas and epistemologies on the virtual and networked self. This is reflected by the fact that the artists examined—whether in SL or AL—create and embody avatars from a liminal (ambiguous) modality of identity, subjectivity and interaction. Mythopoeia (narrative creation) and experiencing oneself as ‘another’ through multiplied identity and subjectivity are the outcomes of code performance and machinima (films created in-world). They constitute a modus operandi (syntax) in which episteme, techne and embodiment work in symbiosis with those of the machine, affected by the synthetic nature of code and liminality in SL. The combined perspective from media studies and distribute aesthetics proves to be an effective method for studying these subjects, contributing to the discussion of contemporary virtual worlds and art theories

Mosaic narrative a poetics of cinematic new media narrative

This thesis proposes the Poetics of Mosaic Narrative as a tool for theorising the creation and telling of cinematic stories in a digital environment. As such the Poetics of Mosaic Narrative is designed to assist creators of new media narrative to design dramatically compelling screen based stories by drawing from established theories of cinema and emerging theories of new media. In doing so it validates the crucial element of cinematic storytelling in the digital medium, which due to its fragmentary, variable and re-combinatory nature, affords the opportunity for audience interaction. The Poetics of Mosaic Narrative re-asserts the dramatic and cinematic nature of narrative in new media by drawing upon the dramatic theory of Aristotle’s Poetics, the cinematic theories of the 1920s Russian Film Theorists and contemporary Neo-Formalists, the narrative theories of the 1960s French Structuralists, and the scriptwriting theories of contemporary cinema. In particular it focuses on the theory and practice of the prominent new media theorist, Lev Manovich, as a means of investigating and creating a practical poetics. The key element of the Poetics of Mosaic Narrative is the expansion of the previously forgotten and undeveloped Russian Formalist concept of cinematurgy which is vital to the successful development of new media storytelling theory and practice. This concept, as originally proposed but not elaborated by Kazansky, encompasses the notion of the creation of cinematic new media narrative as a mosaic – integrally driven by the narrative systems of plot, as well as the cinematic systems of visual style created by the techniques of cinema- montage, cinematography and mise-en-scene

Moral Systems in Nabokov\u27s Fiction: Commentaries on Two Short Stories

Senior Project submitted to The Division of Languages and Literature of Bard College

Accessibility in PC Action/Adventure Games

Segons la Convenció sobre els Drets de les Persones amb Discapacitat, les Tecnologies de la Informació i la Comunicació han de ser accessibles. Per això, l'objectiu de l'estudi és avaluar el grau d'accessibilitat de 50 jocs d'acció/aventura per a PC publicats en els últims 10 anys (2010-2022). Per aconseguir-ho, es va crear una llista de comprovació d'opcions d'accessibilitat en conformitat a les normes, lleis i recomanacions, com les directrius per a videojocs i l'estàndard EN 301 549. El jocs es van seleccionar segons la disponibilitat, franquícies amb diversos títols i popularitat. Cada títol es va avaluar per comprovar si es complien les directrius. Es va calcular un percentatge a partir de la divisió del nombre de directrius d'accessibilitat presents entre les directrius possibles i aplicables. Els resultats revelen que el 44% dels jocs segueixen directrius d'accessibilitat, el 81% inclou directrius per a persones amb discapacitats cognitives, el 44% per a motores i de la parla, el 38% per a les auditives i el 25% per a les visuals. Els jocs examinats no són totalment accessibles, però la majoria compleix amb les directrius cognitives i els nivells bàsics d'accessibilitat. Futures vies d'investigació inclouen avaluacions d'accessibilitat multiplataforma de diferents gèneres i estudis.Según la Convención Internacional sobre los Derechos de las Personas con Discapacidad, las tecnologías de la información y las comunicaciones deben ser accesibles. Por ello, el objetivo del estudio fue descubrir el grado de accesibilidad de cincuenta juegos de acción/aventura para PC publicados en los últimos doce años (2010-2022). Para lograrlo, se creó una lista de comprobación de opciones y características conforme a las directrices para videojuegos, leyes y normas vigentes, como EN 301 549 en Europa. Los juegos se seleccionaron según la disponibilidad, franquicias con varios títulos y grado de popularidad. Cada título se evaluó para comprobar si se cumplían las directrices vigentes. Se obtuvo un porcentaje de accesibilidad al dividir el número de directrices disponibles entre las posibles y aplicables a cada título. Los resultados revelan que el 44% de los juegos siguen directrices, el 81% incluyen pautas para personas con discapacidades cognitivas, el 44% para las motoras y del habla, el 38% para las auditivas y el 25% para las visuales. Los juegos examinados no son totalmente accesibles, pero la mayoría cumple con directrices de accesibilidad cognitivas y niveles básicos de accesibilidad. Futuras vías de investigación incluyen evaluaciones de accesibilidad multiplataforma de diferentes géneros y estudios.According to the Convention on the Rights of People with Disabilities, Information and Communications Technologies (ICT) must be accessible. For this reason, the objective of this study was to discover the accessibility level of fifty PC action/adventure games released in the last twelve years (2010-2022). To this aim, a checklist of options and features following current guidelines (Game Accessibility Guidelines (GAG) and Xbox Guidelines), laws (Twenty-First Century Communications and Video Accessibility Act of 2010 from the United States), and standards (European EN 301 549) was created. The games were selected based on availability, iterations, and popularity. They were reviewed and played to verify if the accessibility features were available. An accessibility percentage was obtained by dividing the number of present GAG by the number of possible GAG applicable to each title. The results revealed that 44% of the titles follow guidelines, 81% include guidelines for people with cognitive disabilities, 44% for motor and speech disabilities, 38% for auditory, and 25% for visual. The examined games are not entirely accessible, but most comply with guidelines addressing the needs of people with cognitive disabilities and basic accessibility levels. Further research lines include multiplatform accessibility assessments from different genres, publishers, and studios

Engagement in independent video games through narrative and character development

Independent videogames (also known as “indie games”) have experienced an increasingly prominent role in the videogame industry. In the last decade, this particular genre has seen an exponential growth, filling its own niche in the market. Furthermore, the low level of investment required by this genre (both in terms of economical and human resources) makes it a favoured path for small companies to start producing videogames. This paradigm of low resources, allied with the technological limitations of mobile devices (this genre's most common platform) defines the “indie game's” playability and visual/narrative aesthetics; the result being a peculiar creative simplicity. We believe this simplicity to be the source of the independent videogames' appeal to the general playerbase. In other words, these videogames engage the player by presenting him/her with a simple yet rich storytelling experience, where complex elements such as long cinematics are eschewed in favor of a more primal and direct experience. Simply put, by investing on a solid narrative and fleshing out interesting, relatable characters, an independent videogame manages to achieve the engagement potential of its commercial counterparts, while doing so with a fraction of the cost. In this dissertation we aim to understand exactly how independent videogames achieve this phenomenon of player engagement through their narrative and characters. We will do so by allying theoretical research on these two creative resources with a the practical exercise of developing our own videogame concept (as a part of our Master's Degree project). Strictly speaking, we will study tools and techniques relating to achieving engagement through narrative and character development, subsequently testing them out in our own project and drawing conclusions on their effectiveness in the process

CREATING A COHERENT SCORE: THE MUSIC OF SINGLE-PLAYER FANTASY COMPUTER ROLE-PLAYING GAMES

This thesis provides a comprehensive exploration into the music of the ludic genre (Hourigan, 2005) known as a Computer Role-Playing Game (CRPG) and its two main sub-divisions: Japanese and Western Role-Playing Games (JRPGs & WRPGs). It focuses on the narrative category known as genre fiction, concentrating on fantasy fiction (Turco, 1999) and seeks to address one overall question: How do fantasy CRPG composers incorporate the variety of musical material needed to create a coherent score across the JRPG and WRPG divide? Seven main chapters form the thesis text. Chapter One provides an introduction to the thesis, detailing the research contributions in addition to outlining a variety of key terms that must be understood to continue with the rest of the text. A database accompanying this thesis showcases the vast range of CRPGs available; a literature review tackles relevant existing materials. Chapters Two and Three seek to provide the first canonical history of soundtracks used in CRPGs by dissecting typical narrative structures for games so as to provide context to their musical scores. Through analysis of existing game composer interviews, cultural influences are revealed. Chapters Four and Five mirror one another with detailed discussion respectively regarding JRPG and WRPG music including the influence that anime and Hollywood cinema have had upon them. In Chapter Six, the use of CRPG music outside of video games is explored, particularly the popularity of JRPG soundtracks in the concert hall. Chapter Seven concludes the thesis, summarising research contributions achieved and areas for future work. Throughout these chapters, the core task is to explain how the two primary sub-genres of CRPGs parted ways and why the music used to accompany these games differs so drastically