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Full-Text Articles in Art and Design
Theorising Film-To-Game Adaptation, Scott Knight
Theorising Film-To-Game Adaptation, Scott Knight
Scott J. Knight
This paper investigates the intersection of ludic and cinematic forms and theories how games are adapted from films in the case of movie-licensed games. It proposes a series of film-to-game adaptation models which describe the practice of this type of adaptation based on structuralist approaches to adaptation theory, aesthetic game studies, and scholarship on transmedia storytelling.
Emily's Pizza, Daehwan Cho
Emily's Pizza, Daehwan Cho
Daehwan Cho
Roger Smith, a single father struggling to stay afloat, finds himself in an unfortunate situation when he loses his job. With harder times lurking around the corner, and Emily’s birthday fast approaching, he is determined to find his daughter a special birthday gift. Along the way he receives a few surprises of his own. Though simple in it’s presentation this film draws in the viewer and reminds us of the most attractive qualities of the human character. Emily’s Pizza was concepted by Professor Daehwan Cho of Boise State University and then adapted to script and produced by Parallel Worlds Productions.
At Home In The Museum: Pierre Loti, Self-Collected, Self-Possessed, Anthony Purdy
At Home In The Museum: Pierre Loti, Self-Collected, Self-Possessed, Anthony Purdy
Anthony Purdy
Suspended between metaphor and metonymy, between the spatial logic of the collection and the scenario of the personal that was the life of its owner, Pierre Loti's house in Rochefort participates in the same transvestism as his novels. This article explores the house museum as a heterotopia in which the synchronous time of the collection is open to disruption by the souvenir's reference to past events, to the biography of the collector.
Man In A Suitcase: Tulse Luper At Compton Verney, Anthony Purdy, Bridget Elliott
Man In A Suitcase: Tulse Luper At Compton Verney, Anthony Purdy, Bridget Elliott
Anthony Purdy
Exploring in the gallery space the possibilities of an experimental intermediality, Luper at Compton Verney deploys the suitcase both as an emblem for key moments of twentieth-century history, including Auschwitz , and as a recurrent device in twentieth-century art. This essay examines the intersections of art and history in an exhibition space conceived as a complex heterotopian play of "other spaces," such as suitcase installations, vitrine displays, film projections, video screenings, drawings, and maps.