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|Long loan||London College of Communication Main collection||Printed books||794.8 KIN (Browse shelf (Opens below))||Available||54087355|
|Long loan||London College of Communication Main collection||Printed books||794.8 KIN (Browse shelf (Opens below))||Available||40873668|
|Long loan||Wimbledon College of Arts Main collection||Printed books||791.43 KIN (Browse shelf (Opens below))||Available||54039000358286|
Enhanced descriptions from Syndetics:
What is the relationship between cinema and videogames? Hollywood film franchises are routinely translated into games. Some game titles make the move onto the big screen, none more prominently than Lara Croft, iconic star of the Tomb Raider series. Games often depend on recognised film genres, milieu or devices for branding and marketing. Some aspire to a film-like quality of graphics and action. But games also offer markedly different experiences, especially in the realm of interactivity. And what happens in the interface between cinema and games console or PC? Is there a merging of languages as games influence movies and movies influence games? Are some films becoming increasingly like games, and to what extent do they draw on the characteristics of Hollywood or other forms of cinema? ScreenPlay: cinema/videogames/interfaces investigates all these issues and explores the extent to which the tools of film analysis can be applied to games, in particular how the pleasures (and frustrations) of computer games can be compared with those of cinema.
Includes bibliographic references and index.
Reviews provided by Syndetics
CHOICE ReviewAs distinctions between video games that look like movies and movies that look like video games continue to blur, critics need to examine the two media from the perspective of the video-gaming culture, which first attempted the emulation. King and Krzywinska (both, Brunel Univ., UK) collect nine thoughtful and thought-provoking essays about video-game medium and culture vis-a-vis the medium of cinematic film; the eclectic group of contributing academicians all exhibit a true understanding of video gaming and gamers. Although most of the essayists are British, the vast majority of the games they discuss are popular on both sides of the Atlantic, and readers will find that the cross-cultural interpretations of video games are progressing irrespective of international borders. Two essays in particular are worth mentioning. In "Technological Pleasure," Andrew Mactavish abandons conventional ideas about video gamers' interest in structured narrative and instead explores the immersion factor of the gamer in the game's textured universe. Margit Greib, in "Run Lara Run," focuses on the unusual film narrative structure of Run Lola Run and its similarities to the Tomb Raider video game. An excellent addition to the rapidly growing scholarship about video games. ^BSumming Up: Highly recommended. Lower-division undergraduates through faculty. R. C. Adams Kansas State University
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