- Title Pages
- I Reflections
- 1 Video Capture: Machinima, Documentation, and the History of Virtual Worlds
- 2 From Game Mod to Low-Budget Film: The Evolution of Machinima
- 3 Arrested Development: Why Machinima Can’t (or Shouldn’t) Grow Up
- II Technology
- 4 Toward a Machinima Studio
- 5 Image Future
- 6 Tangible Narratives: Emerging Interfaces for Digital Storytelling and Machinima
- III Performance
- 7 Machinima as Media
- 8 Encoding Liveness: Performance and Real-Time Rendering in Machinima
- 9 Machinima: From Art Object to Cultural Practice
- 10 Of Games and Gestures: Machinima and the Suspension of Animation
- IV Machine Cinema
- 11 How Do You Solve a Problem Like Machinima?
- 12 Machinimatic Realism: Capturing and Presenting the “Real World” of Video Games
- 13 Undefining Machinima
- V Pedagogy
- 14 Everything I Need to Know about Filmmaking I Learned from Playing Video Games: The Educational Promise of Machinima
- 15 Machinima and Modding: Pedagogic Means for Enhancing Computer Game Literacy
- VI Context
- 16 Pink vs. Blue: The Emergence of Women in Machinima
- 17 Participatory Fan Culture and Half-Life 2 Machinima: A Dialogue among Ethnography, Culture, and Space
- 18 Don’t Mess with <i>The Warriors</i>: The Politics of Machinima
Machinima as Media
Machinima as Media
- (p.113) 7 Machinima as Media
- The Machinima Reader
- The MIT Press
Using performance studies as a starting point, this chapter presents a definition of machinima as a media format: machinima is digital performance that controls procedurally animated moving images. Machinima is part of a larger media movement that grew out of the digital revolution. This revolution does not stop at the home video, the game engine, or the TV screen but instead it is part of a redefinition of the moving image as such. The specific importance of machinima might be that it shines a new and focused light on how the revolution unfolds before our eyes. It offers a preliminary window into the future of customized moving images and provides a haven for the ideal of interactive cinema as long as it supports its own media specifics.
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