Animated war

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.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.<br/

Shifting regime shifted policy—interplay of interests in sustainability discourses of forest land use

Colonial interest, Commercial interest, Bangladesh forestry, Forest policy, Peoples participation, Policy interest, Regime change, Sustainability and tradition,

Timber, science and statecraft: the emergence of modern forest resource economic thought in Germany

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