Editors Marsha Kinder and Tara McPherson present an authoritative collection of essays on the continuing debates over medium specificity and the politics of the digital arts. Comparing the term “transmedia” with “transnational,” they show that the movement beyond specific media or nations does not invalidate those entities but makes us look more closely at the cultural specificity of each combination. In two parts, the book stages debates across essays, creating dialogues that give different narrative accounts of what is historically and ideologically at stake in medium specificity and digital politics. Each part includes a substantive introduction by one of the editors.
Part 1 examines precursors, contemporary theorists, and artists who are protagonists in this discursive drama, focusing on how the transmedia frictions and continuities between old and new forms can be read most productively: N. Katherine Hayles and Lev Manovich redefine medium specificity, Edward Branigan and Yuri Tsivian explore nondigital precursors, Steve Anderson and Stephen Mamber assess contemporary archival histories, and Grahame Weinbren and Caroline Bassett defend the open-ended mobility of newly emergent media.
In part 2, trios of essays address various ideologies of the digital: John Hess and Patricia R. Zimmerman, Herman Gray, and David Wade Crane redraw contours of race, space, and the margins; Eric Gordon, Cristina Venegas, and John T. Caldwell unearth database cities, portable homelands, and virtual fieldwork; and Mark B.N. Hansen, Holly Willis, and Rafael Lozano-Hemmer and Guillermo Gómez-Peña examine interactive bodies transformed by shock, gender, and color.
An invaluable reference work in the field of visual media studies, Transmedia Frictions provides sound historical perspective on the social and political aspects of the interactive digital arts, demonstrating that they are never neutral or innocent.
Marsha Kinder is Emerita University Professor at University of Southern California's School of Cinematic Arts, where she was the founding director of the Labyrinth Project. Her books include Playing with Power in Movies, Television, and Video Games and Blood Cinema: The Reconstruction of National Identity in Spain.
Tara McPherson is Professor and the Hefner Endowed Chair of Censorship Studies in the University of Southern California's School of Cinematic Arts. She is author of Feminist in a Software Lab and Reconstructing Dixie, editor of Digital Youth, Innovation, and the Unexpected and coeditor of Hop on Pop: The Politics and Pleasures of Popular Culture.
“As someone who attended and participated in the 1999 Interactive Fictions conference, which in many ways consolidated more than a decade of theorizing about and experimenting with digital media, I was uncertain what to expect from Transmedia Frictions. What I found was a rich collection that looks both backward to reconstruct the paths not taken in digital theory and forward to imagine alternative ways of framing issues of medium specificity, digital identities, embodiment, and space/place. This collection is sure to transform how we theorize—and teach—the next phases of our profound and prolonged moment of media transition.”—Henry Jenkins, author of Convergence Culture: Where Old and New Media Collide
“This anthology is both an essential document in the history of new media studies and a springboard for critical future work in this field. The breadth of this impressive work is itself instructive about our twenty-first-century academic and scholarly goals.”—Mark J. Williams, coeditor of Interfaces: Studies in Visual Culture series
416 pp.7 x 10Illus: 26 b/w images
9780520281851$95.00|£80.00Hardcover
Jul 2014