TY - CHAP

T1 - Facing the Audience

T2 - Understanding Machinima

A1 - Frølunde,Lisbeth

AU - Frølunde,Lisbeth

PB - Continuum International Publishing Group Ltd

CY - London and New York

PY - 2013/7/15

Y1 - 2013/7/15

N2 - Preliminary text:<br/>This essay concerns the dialogic theories on language and culture inspired by the Russian literary philosopher M. M. Bakhtin (1895-1975) applied to understanding machinima (realtime animation), which is seen as an example of “hybrid animated film”. The phenomenon of machinima is also related to the current shifts in filmmaking with new types of filmmakers/authors using “new media” with its particular means for do-it-yourself (DIY) production and distribution. <br/>I review my approach to machinima film, its relative newness, and the history of hybridization of live action and the animated in filmmaking. The hybridity poses several theoretical challenges. On the one hand, understanding hybridity as an aspect of all texts, as any text builds on all previous texts or is intertextual. On the other hand, understanding the meaning-making process of filmmakers and audience. Dialogic theory is applied toward an exploration of how humans make meaning (semiosis) on the basis of previous experience or knowledge. <br/>Three main Bakhtinian concepts are discussed in an attempt to gain understand theoretical understanding of the hybrid animated film: heteroglossia (multiple voices in dialogue), genres (compositional forms that continually evolve) and chronotope (model of time and space). <br/>The essays closes with a synthesis of the theoretical challenges around meaning-making and reflection on application of the Bakhtinian approach. The discussion pertains to the development of machinima practice in light of dialogic theory, with reference to critical comments by film director Peter Greenway and filmmaker Friedrich Kirschner about a lack of diversity and experimentation in machinima generally.<br/>

AB - Preliminary text:<br/>This essay concerns the dialogic theories on language and culture inspired by the Russian literary philosopher M. M. Bakhtin (1895-1975) applied to understanding machinima (realtime animation), which is seen as an example of “hybrid animated film”. The phenomenon of machinima is also related to the current shifts in filmmaking with new types of filmmakers/authors using “new media” with its particular means for do-it-yourself (DIY) production and distribution. <br/>I review my approach to machinima film, its relative newness, and the history of hybridization of live action and the animated in filmmaking. The hybridity poses several theoretical challenges. On the one hand, understanding hybridity as an aspect of all texts, as any text builds on all previous texts or is intertextual. On the other hand, understanding the meaning-making process of filmmakers and audience. Dialogic theory is applied toward an exploration of how humans make meaning (semiosis) on the basis of previous experience or knowledge. <br/>Three main Bakhtinian concepts are discussed in an attempt to gain understand theoretical understanding of the hybrid animated film: heteroglossia (multiple voices in dialogue), genres (compositional forms that continually evolve) and chronotope (model of time and space). <br/>The essays closes with a synthesis of the theoretical challenges around meaning-making and reflection on application of the Bakhtinian approach. The discussion pertains to the development of machinima practice in light of dialogic theory, with reference to critical comments by film director Peter Greenway and filmmaker Friedrich Kirschner about a lack of diversity and experimentation in machinima generally.<br/>

KW - dialogisk

KW - filmproduktion

KW - tværmedial

KW - receptionsforskning

KW - animation

KW - hybriditet

KW - dialogic theory

KW - machinima

KW - filmproduction

KW - new media

KW - hybridity

KW - machinima

KW - Video

UR - http://www.youtube.com/watch?v=Dv_Tsfi2Mn4

BT - Understanding Machinima

A2 - Ng,Jenna

ED - Ng,Jenna

ER -