Cinematic Interfaces

In this book, Seung-hoon Jeong introduces the cinematic interface as a contact surface that mediates between image and subject, proposing that this mediation be understood not simply as transparent and efficient but rather as asymmetrical, ambivalent, immanent, and multidirectional. Jeong enlists the new media term "interface" to bring to film theory a synthetic notion of interfaciality as underlying the multifaceted nature of both the image and subjectivity. Drawing on a range of films, Jeong examines cinematic interfaces seen on screen and the spectator’s experience of them, including: the direct appearance of a camera/filmstrip/screen, the character’s bodily contact with such a medium-interface, the object’s surface and the subject’s face as "quasi-interface," and the image itself. Each of these case studies serves as a platform for remapping and revamping major concepts in film studies such as suture, embodiment, illusion, signification, and indexicality. Looking to such theories as the ontology of the image and the phenomenology of the body, this original theorization of the cinematic interface not only offers a conceptual framework for rethinking and re-linking film and media studies, but also suggests a general theory of the interface.

In this book, Seung-hoon Jeong introduces the cinematic interface as a contact surface that mediates between image and subject, proposing that this mediation be understood not simply as transparent and efficient but rather as asymmetrical, ambivalent, immanent, and multidirectional. Jeong enlists the new media term "interface" to bring to film theory a synthetic notion of interfaciality as underlying the multifaceted nature of both the image and subjectivity. Drawing on a range of films, Jeong examines cinematic interfaces seen on screen and the spectator’s experience of them, including: the direct appearance of a camera/filmstrip/screen, the character’s bodily contact with such a medium-interface, the object’s surface and the subject’s face as "quasi-interface," and the image itself. Each of these case studies serves as a platform for remapping and revamping major concepts in film studies such as suture, embodiment, illusion, signification, and indexicality. Looking to such theories as the ontology of the image and the phenomenology of the body, this original theorization of the cinematic interface not only offers a conceptual framework for rethinking and re-linking film and media studies, but also suggests a general theory of the interface.

Many designers enjoy the interfaces seen in science fiction films and television shows. Freed from the rigorous constraints of designing for real users, sci-fi production designers develop blue-sky interfaces that are inspiring, humorous, and even instructive. By carefully studying these “outsider” user interfaces, designers can derive lessons that make their real-world designs more cutting edge and successful.

Hollywood film franchises are routinely translated into games and some game-titles make the move onto the big screen. This collection investigates the interface between cinema and games console or PC.

A revolutionary reconceptualization of capital and perception during the twentieth century.

Want to know how to get a job designing UI for films or games? Not sure how to get started? We've got the answers to these and many more questions in our beginner's guide to launching a career in FUI. Jono gathers the most prolific artists in the industry to help answer some of the most common questions such as: What does the FUI process look like? What tools do FUI designers use? How do you get a job designing FUI? How do I get started? If you've ever considered designing user interfaces for film or games, then this guide is for you. This is a guide to help people needing advice on how to get started in FUI and how to break into the industry. This is not a coffee table book full of pretty pictures or step-by-step tutorials. It is a book filled with tips and insights collected from industry professionals. ALSO INCLUDES 'Approaching an interface' checklist 'Assessing an interface' checklist Pro tips from our contributing artists CONTRIBUTING ARTISTS Alan Torres (Captain America: Civil War, Avengers: Age of Ultron, Furious 7, Guardians of the Galaxy) Ash Thorp (Ghost in the Shell, Call of Duty: Infinite Warfare, 007: Spectre, Total Recall, Prometheus, Robocop) Chris Kieffer (Westworld, Passengers, Interstellar, G.I. Joe: Retaliation, Deep Water Horizon)) Corey Brammell (TMNT: Out of the Shadows, Ant-Man, 5th Wave, Transformers: Age of Extinction) Davison Carvalho (Star Wars: The Force Awakens, Doctor Strange, Captain America: Civil War, Mortal Kombat X) Gemma Kingsley (Black Mirror, The Conjuring 2, London Has Fallen) Jayse Hansen (Spider-Man Homecoming, Guardians 2, Star Wars: The Force Awakens, The Avengers 1&2, Iron Man 3) Jérémie Benhamou (Call of Duty: Advanced Warfare, Dead Space 2&3, Assassins Creed: Unity, Rainbow Six: Siege) John LePore (Batman V Superman: Dawn of Justice, Captain America: Civil War, Iron Man 2, The Avengers) Jorge Almeida (Minority Report, Star Trek Into Darkness, The Dark Knight Rises, Microsoft Future Vision 2015) Ryan Rafferty Phelan (Avengers Age of Ultron, Mission Impossible V, Agent 47, Guardians of the Galaxy)

Volume is indexed by Thomson Reuters CPCI-S (WoS). The collection coveres all aspects of fracture and strength of materials and structure, particularly of advanced materials ranging from nanoscale to macroscale and modern structural systems ranging from large scale plants to micro- devices.

Interfaces are back, or perhaps they never left. The familiar Socratic conceit from the Phaedrus, of communication as the process of writing directly on the soul of the other, has returned to center stage in today's discussions of culture and media. Indeed Western thought has long construed media as a grand choice between two kinds of interfaces. Following the optimistic path, media seamlessly interface self and other in a transparent and immediate connection. But, following the pessimistic path, media are the obstacles to direct communion, disintegrating self and other into misunderstanding and contradiction. In other words, media interfaces are either clear or complicated, either beautiful or deceptive, either already known or endlessly interpretable. Recognizing the limits of either path, Galloway charts an alternative course by considering the interface as an autonomous zone of aesthetic activity, guided by its own logic and its own ends: the interface effect. Rather than praising user-friendly interfaces that work well, or castigating those that work poorly, this book considers the unworkable nature of all interfaces, from windows and doors to screens and keyboards. Considered allegorically, such thresholds do not so much tell the story of their own operations but beckon outward into the realm of social and political life, and in so doing ask a question to which the political interpretation of interfaces is the only coherent answer. Grounded in philosophy and cultural theory and driven by close readings of video games, software, television, painting, and other images, Galloway seeks to explain the logic of digital culture through an analysis of its most emblematic and ubiquitous manifestation – the interface.