Angela Ndalianis
Angela Ndalianis specializes in Hollywood cinema, special effects and visual effects, and the convergence of entertainment forms such as films, computer games, comic books and theme park spaces. She is especially interested in sensory and embodied experiences mediated by technologies such as film, games, VR, AR and other immersive technologies. Her research also explores transdisciplinary and transhistorical approaches to entertainment forms and their history, and she is especially interested in the baroque dimensions of contemporary culture.
less
InterestsView All (51)
Uploads
has strived to push special effects technologies to new limits, often
immersing the audience in an experience that’s more familiar to
audiences of baroque art of the seventeenth and eighteenth centuries:
often, screen boundaries appear to collapse and the spectacle
onscreen deceptively appears to share its world with the real space
of the viewer. This essay focuses on the 3D impulses present in the
second of the Matrix films – Matrix Reloaded (Wachowski Brothers
2003). The spatio-temporal articulations favored in the filmed are
explored and compared to the depiction of space and time in the
paintings of the seventeenth century artist Michelangelo Merisi da
Caravaggio and, in particular, the paintings Crucifixion of St. Peter
and Conversion of St. Paul (1601). It’s argued that both works present
fictional spaces that invite the perceptual collapse of the screen or
painted frame, but they also conceptually invoke a science fictional logic in their portrayal of alternate time dimensions that contradict
the linear logic of a fixed ‘reality’.
"The collection and preservation of the ‘born digital’ (artefacts that"
"originate in digital form) has, in recent years, become a growing a"
"nd significant area of debate. Finally, institutions are beginning to give serious consideration to best practice for digital preservation strategies and the establishment of digital collections. Digital technology emerges and disappears with incredible speed; a once-new piece of hardware or software becomes old and is replaced by the next technological advancement. What happens to videogame software and hardware of the 1980s and 90s? The web browsers, blogs and social media sites and content they once displayed? The artworks that relied on pre-2000 computers to create art? Are these – amongst many other – digital cre- ations fated to be abandoned, becoming only memories of individual experience? Are they to be collected by institutions as defunct objects? Or are they to be preserved and revived using new digital technology? These are but a few of the serious questions facing collecting institutions The question of who is responsible for collecting, preserving"
It is hard to imagine a time when superheroes have been more pervasive in our culture. Today, superheroes are intellectual property jealously guarded by media conglomerates, icons co-opted by grassroots groups as a four-color rebuttal to social inequities, masks people wear to more confidently walk convention floors and city streets, and bulletproof banners that embody regional and national identities. From activism to cosplay, this collection unmasks the symbolic function of superheroes.
Bringing together superhero scholars from a range of disciplines, alongside key industry figures such as Harley Quinn co-creator Paul Dini, The Superhero Symbol provides fresh perspectives on how characters like Captain America, Iron Man, and Wonder Woman have engaged with media, culture, and politics, to become the “everlasting” symbols to which a young Bruce Wayne once aspired.
The neo-baroque aesthetics that Ndalianis analyzes are not, she argues, a case of art history repeating or imitating itself; these forms have emerged as a result of recent technological and economic transformations. The neo-baroque forms combine sight and sound and text in ways that parallel such seventeenth-century baroque forms as magic lanterns, automata, painting, sculpture, and theater but use new technology to express the concerns of the late twentieth and early twenty-first century. Moving smoothly from century to century, comparing ceiling paintings to the computer game Doom, a Spiderman theme park adventure to the baroque version of multimedia known as the Bel Composto, and a Medici wedding to Terminator 2:3D, the book demonstrates the logic of media histories. Ndalianis focuses on the complex interrelationships among entertainment media and presents a rigorous cross-genre, cross-historical analysis of media aesthetics.
has strived to push special effects technologies to new limits, often
immersing the audience in an experience that’s more familiar to
audiences of baroque art of the seventeenth and eighteenth centuries:
often, screen boundaries appear to collapse and the spectacle
onscreen deceptively appears to share its world with the real space
of the viewer. This essay focuses on the 3D impulses present in the
second of the Matrix films – Matrix Reloaded (Wachowski Brothers
2003). The spatio-temporal articulations favored in the filmed are
explored and compared to the depiction of space and time in the
paintings of the seventeenth century artist Michelangelo Merisi da
Caravaggio and, in particular, the paintings Crucifixion of St. Peter
and Conversion of St. Paul (1601). It’s argued that both works present
fictional spaces that invite the perceptual collapse of the screen or
painted frame, but they also conceptually invoke a science fictional logic in their portrayal of alternate time dimensions that contradict
the linear logic of a fixed ‘reality’.
"The collection and preservation of the ‘born digital’ (artefacts that"
"originate in digital form) has, in recent years, become a growing a"
"nd significant area of debate. Finally, institutions are beginning to give serious consideration to best practice for digital preservation strategies and the establishment of digital collections. Digital technology emerges and disappears with incredible speed; a once-new piece of hardware or software becomes old and is replaced by the next technological advancement. What happens to videogame software and hardware of the 1980s and 90s? The web browsers, blogs and social media sites and content they once displayed? The artworks that relied on pre-2000 computers to create art? Are these – amongst many other – digital cre- ations fated to be abandoned, becoming only memories of individual experience? Are they to be collected by institutions as defunct objects? Or are they to be preserved and revived using new digital technology? These are but a few of the serious questions facing collecting institutions The question of who is responsible for collecting, preserving"
It is hard to imagine a time when superheroes have been more pervasive in our culture. Today, superheroes are intellectual property jealously guarded by media conglomerates, icons co-opted by grassroots groups as a four-color rebuttal to social inequities, masks people wear to more confidently walk convention floors and city streets, and bulletproof banners that embody regional and national identities. From activism to cosplay, this collection unmasks the symbolic function of superheroes.
Bringing together superhero scholars from a range of disciplines, alongside key industry figures such as Harley Quinn co-creator Paul Dini, The Superhero Symbol provides fresh perspectives on how characters like Captain America, Iron Man, and Wonder Woman have engaged with media, culture, and politics, to become the “everlasting” symbols to which a young Bruce Wayne once aspired.
The neo-baroque aesthetics that Ndalianis analyzes are not, she argues, a case of art history repeating or imitating itself; these forms have emerged as a result of recent technological and economic transformations. The neo-baroque forms combine sight and sound and text in ways that parallel such seventeenth-century baroque forms as magic lanterns, automata, painting, sculpture, and theater but use new technology to express the concerns of the late twentieth and early twenty-first century. Moving smoothly from century to century, comparing ceiling paintings to the computer game Doom, a Spiderman theme park adventure to the baroque version of multimedia known as the Bel Composto, and a Medici wedding to Terminator 2:3D, the book demonstrates the logic of media histories. Ndalianis focuses on the complex interrelationships among entertainment media and presents a rigorous cross-genre, cross-historical analysis of media aesthetics.