Papers by Markos Hadjioannou
Excursions Journal, 2019
In light of the current transition from celluloid to digital cinema, this paper will explore the ... more In light of the current transition from celluloid to digital cinema, this paper will explore the relation between old and new technologies as a means for understanding medium specificity as an activity of mediation. While the ongoing debate in screen studies aims at clarifying the extent of digital technology’s effects, it seems that the new technology is either being interpreted as inducing a rupture in film history clearly distinct from celluloid, or as directly repeating strategies, goals, forms, and impulses specific to an indexical and analogical visual culture. Indeed, the desire to acknowledge points of divergence or close interaction between technological forms is unquestionably useful; but my own approach to the technological change takes into account both the differences and similarities of forms as a means of exploring medium specificity. This will be a matter of dealing with the new as not new or old, but new and old – as simultaneously distinct and interactively interre...
International Journal of Performance Arts & Digital Media, 2011
ABSTRACT Where theatre was not dependent on a projector and screen for the manifestation of its f... more ABSTRACT Where theatre was not dependent on a projector and screen for the manifestation of its fictitious worlds, cinema had to rely on such equipment for its representation of moving photographic images. In so doing, cinema could achieve what theatre could only allude to with the help ...
Representations, 2017
This article considers Alfred Hitchcock’s work in relation to the connotations of “fallacy” withi... more This article considers Alfred Hitchcock’s work in relation to the connotations of “fallacy” within conventional settings of modern Western society. Focusing on two films, Strangers on a Train (1951) and Rear Window (1954), we point to the phenomenon of the incidental push that leads toward an inextricable entanglement of characters, events, and psychic forces in what appear to be logical courses of action. We name this push “the Hitchcockian nudge.”
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Papers by Markos Hadjioannou