24 Apr 2014
Reviewing the modes of production and genres of machinima leads us to thinking about how we classify it by distribution method (and in turn this will enable Mike and I to move to the next phase of the study which is to interview folks directly involved in creating ‘value’ from machinima). Machinima now encompasses such a diverse body of work, over so many distribution networks, well beyond YouTube, that we have identified quadrants in a matrix structure based on the extent of interaction in the production process and the commercialization of the content arising from it. These quadrants are :–
- Cornblatt, M., 2011, Censorship as Criticism: Performance Art and Fair Use in Virtual Territory, Journal of Visual Culture, 10: 74-79, doi:10.1177/1470412910391565
- Nitsche, M., 2009, Video Game Spaces. Image, Play, and Structure in 3D Worlds, Cambridge, MA: MIT Press.
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