Virginia Crisp | King's College London (original) (raw)

Books by Virginia Crisp

Cinéma & Cie:, 2018

Crisp, Virginia (2018) ‘Release Groups & The Scene: Re-intermediation and Competitive Gatekeepers... more Crisp, Virginia (2018) ‘Release Groups & The Scene: Re-intermediation and Competitive Gatekeepers Online’ Cinéma & Cie: International Film Studies Journal, Special Edition – Re-intermediation: Distribution, Online Access, and Gatekeeping in the Digital European Market, pp. 67 – 80.

Besides the Screen seeks to make an intervention into film and screen studies by examining and co... more Besides the Screen seeks to make an intervention into film and screen studies by examining and considering the elements of cinematic experience, production and dissemination that exist beside the screen. New media technologies impact cinema well beyond the screen; they also promote the reorganization of its logic of distribution, modes of consumption and viewing regimes. This publication speculates about the changes in modes of accessing, distributing, storing and promoting moving images and how they might affect cinematographic experience, economy and historiography. In doing so, Besides the Screen examines three key themes: distribution, promotion and curation. The volume's main argument is that we must examine those practices that exist besides the screen if we are to consider fully how filmic experience is mediated by various technological and societal changes in the early decades of the twenty-first century.

Papers by Virginia Crisp

Cinema apesar da imagem problematiza as telas, justamente as telas, tão presentes e afirmativas d... more Cinema apesar da imagem problematiza as telas, justamente as telas, tão presentes e afirmativas de seu formato mais hegemônico. Mas não se trata de lamentar a tela, muito menos a imagem. É o cinema sim, ou os fragmentos de sua constante expansão, flertando com outras possibilidades, esbarrando na vida. É a constatação de que não são mais apenas nas salas escuras, ocupadas por um público que compartilha cumplicidades tácitas, que o cinema acontece. Há uma sugestão nas entrelinhas, de que libertar a imagem de suas molduras, a faz circular para além das convenções. Mas seria uma suposição simplista. O que aqui se reflete no ler e no imaginar (no fechar dos olhos, talvez) é um alargamento de linguagens, um diálogo geopolítico, a expansão de uma rede, em perspectivas que apontam não apenas para o visual, mas também para o textual, o interativo, o participativo, o sensorial, o portátil, o tempo real, o continuum das imagens. Se um dos estigmas do cinema são suas crises anunciadas, há outras perspectivas latentes: num cinema como evento, no imbricamento entre processos (técnicos, logísticos, sensíveis), na engenharia de dispositivos, na reinvenção da gestualidade, em uma experiência cotidiana através das imagens — inclusive nas viagens promíscuas que o digital engendra —, que podem permitir ao espectador alguma experiência incomum em nosso momento contemporâneo. E se a disputa pelos modos de ver o mundo é um dos embates sensíveis da atualidade, a iniciativa (este livro e os acontecimentos que o gestaram) nos convence da importância de adensar debates e explicitar articulações, reconhecendo diferentes entendimentos sobre a tela e uma diversidade de expressões para além dela. As muitas ameaças ao cinema parecem fazê-lo cada vez mais onipresente, potente e múltiplo. (Lucas Bambozzi)

Palgrave European film and media studies, 2024

The Routledge Companion to World Cinema, 2017

Digital Media Distribution

It has become commonplace to talk about the influence that technological developments have on aud... more It has become commonplace to talk about the influence that technological developments have on audiovisual media. At some point in the 20th century, video and broadcast television came to disturb the traditional organization of the cinema, revealing the image as soon as it was captured and bringing it into the audience’s home. Currently, computer synthesis and online networks have even stronger effects on the medium as they increase the public’s agency in the dynamics of the movie market. Film, as Professor Janet Harbord has so concisely summarized, ‘is not what it used to be’ (2007, p. 1). A number of technological, industrial and social shifts have affected it in recent years, the most notable being the fact that film is no longer ‘filmed’ – at least not on celluloid. Inasmuch as this might be the origin of a crisis in medium specificity, it is also what allows film to seamlessly converge with other media, escaping from the bounds of cinematic presentation into potentially limitles...

Participation: Journal of Audience and Reception Studies, May 1, 2016

It is tempting to view the rise of event-led cinema as a symptom of shifting audience preferences... more It is tempting to view the rise of event-led cinema as a symptom of shifting audience preferences-the i e ita le esult of i e agoe s i easi gl seeki g out i e si e , pa ti ipato a d e pe ie tial fil s ee i gs. The esearch presented within this particular article aimed to explore the appeal of such screenings by focusing on audiences at the Prince Charles Cinema (PCC) in Londona venue that is widely known for hosting singalongs, quote-alongs, and other participatory events. Our results, however, were surprising. Respondents to our questionnaire readily subscribed to a form of cinephilia that embraces a wide variety of tastes, but largely rejects participatory aspects of event-led cinema in favour of what they deemed to be a more authentic cinematic experience. Audiences repeatedly emphasised the superiority of the silent, reverential film screening, and many felt that the PCC s g eatest ualit as the a i hi h it e i ded the of ho i e as used to e, not what they might one day become. Ultimately, the article demonstrates that cinematic events are by no means the only option available to audiences who crave alternatives to ai st ea i e as. We all fo a e o side atio of the i e si e a d e pe ie tial dimensions of traditional cinemagoing, and a greater emphasis on the viewing conditions that facilitate an affective bond between audience and film. To us, the search for alternative cinema experiences seems to be more about the desire for cinema to get better at what it already does, not for it to change into something entirely different.

<p>This introductory chapter situates the volume's various investigations in projection... more <p>This introductory chapter situates the volume's various investigations in projection practices within the broader context of visual culture and screen studies, striving to go beyond their moments of technological crisis. It seeks to present projection simultaneously as a process inherent to the territorialisation of film, a specialized effect of complex optical apparatus, and a mode of organising the world. In exploring these different definitions, the chapter argues for the importance of a materialist approach to moving-image technologies and a spatial understandings of time-based media. By providing an overview of the book chapters, it dwells on the significant role that projection has to play as a practice, technology, and expressive form across multiple cultural, temporal, and geographical contexts.</p>

Cult Media

For film audiences, the move from analogue to digital brings with it an increased opportunity to ... more For film audiences, the move from analogue to digital brings with it an increased opportunity to access (and adapt) the constituent parts of a film. Within the context of online piracy, the media ‘objects’ shared are necessarily already disconnected from this final ‘product’ form. Furthermore, the file sharers discussed herein suggest that certain proprietorial rights are accorded to them because of the creative labour involved in modifying and sharing films within their community. However, due to what the community members acknowledge as the ‘illegal’ nature of their activities, their understandings of ownership become both complicated and conflicted. Thus, this chapter will examine how these file sharers engage with these consumer film ‘products’ and how such actions are interconnected with their practices of intangible product piracy.

The concept of textual poaching positions fans as active audiences who borrow from, embellish and... more The concept of textual poaching positions fans as active audiences who borrow from, embellish and remix textual materials as part of their consumption. However, this potentially invasive behaviour is often at odds with the rights and demands of intellectual property holders. Through case studies of alternate reality games, filesharing networks, Twitter hashtags, and football (soccer) fandom, this forum article brings together four scholars to discuss the inherent tension between brands and fannish consumer practices. In particular, the authors focus on the interplay of power and control between the two parties, debating the extent to which fandom might be considered a negotiated form of brand ownership.

Film Distribution in the Digital Age, 2015

Before launching into a history of ‘filesharing’, this chapter will take issue with the terminolo... more Before launching into a history of ‘filesharing’, this chapter will take issue with the terminology used within its own heading while acknowledging that, despite the problematic association with the term ‘filesharing’ (and piracy more generally), a suitable alternative has yet to present itself.1 While Ramon Lobato’s term ‘informal’ is helpful as a general term that provides ‘a loose way of conceptualising certain forms of film culture, which are incompatible with more familiar paradigms’ (original emphasis; Lobato, 2007, p. 114), such terminology is too broad for the purposes of this chapter. That is, while Lobato suggests that piracy might come under this banner of ‘informal’ distribution, not all methods of informal distribution can be understood as piracy. While the umbrella terms ‘informal’ and ‘formal’ circumvent the negative associations of the more popular terms ‘illegal’ and ‘legal’, the question remains as to what terminology we must use to accurately describe the subcategories that exist beneath.

Cinéma & Cie:, 2018

Crisp, Virginia (2018) ‘Release Groups & The Scene: Re-intermediation and Competitive Gatekeepers... more Crisp, Virginia (2018) ‘Release Groups & The Scene: Re-intermediation and Competitive Gatekeepers Online’ Cinéma & Cie: International Film Studies Journal, Special Edition – Re-intermediation: Distribution, Online Access, and Gatekeeping in the Digital European Market, pp. 67 – 80.

Besides the Screen seeks to make an intervention into film and screen studies by examining and co... more Besides the Screen seeks to make an intervention into film and screen studies by examining and considering the elements of cinematic experience, production and dissemination that exist beside the screen. New media technologies impact cinema well beyond the screen; they also promote the reorganization of its logic of distribution, modes of consumption and viewing regimes. This publication speculates about the changes in modes of accessing, distributing, storing and promoting moving images and how they might affect cinematographic experience, economy and historiography. In doing so, Besides the Screen examines three key themes: distribution, promotion and curation. The volume's main argument is that we must examine those practices that exist besides the screen if we are to consider fully how filmic experience is mediated by various technological and societal changes in the early decades of the twenty-first century.

Cinema apesar da imagem problematiza as telas, justamente as telas, tão presentes e afirmativas d... more Cinema apesar da imagem problematiza as telas, justamente as telas, tão presentes e afirmativas de seu formato mais hegemônico. Mas não se trata de lamentar a tela, muito menos a imagem. É o cinema sim, ou os fragmentos de sua constante expansão, flertando com outras possibilidades, esbarrando na vida. É a constatação de que não são mais apenas nas salas escuras, ocupadas por um público que compartilha cumplicidades tácitas, que o cinema acontece. Há uma sugestão nas entrelinhas, de que libertar a imagem de suas molduras, a faz circular para além das convenções. Mas seria uma suposição simplista. O que aqui se reflete no ler e no imaginar (no fechar dos olhos, talvez) é um alargamento de linguagens, um diálogo geopolítico, a expansão de uma rede, em perspectivas que apontam não apenas para o visual, mas também para o textual, o interativo, o participativo, o sensorial, o portátil, o tempo real, o continuum das imagens. Se um dos estigmas do cinema são suas crises anunciadas, há outras perspectivas latentes: num cinema como evento, no imbricamento entre processos (técnicos, logísticos, sensíveis), na engenharia de dispositivos, na reinvenção da gestualidade, em uma experiência cotidiana através das imagens — inclusive nas viagens promíscuas que o digital engendra —, que podem permitir ao espectador alguma experiência incomum em nosso momento contemporâneo. E se a disputa pelos modos de ver o mundo é um dos embates sensíveis da atualidade, a iniciativa (este livro e os acontecimentos que o gestaram) nos convence da importância de adensar debates e explicitar articulações, reconhecendo diferentes entendimentos sobre a tela e uma diversidade de expressões para além dela. As muitas ameaças ao cinema parecem fazê-lo cada vez mais onipresente, potente e múltiplo. (Lucas Bambozzi)

Palgrave European film and media studies, 2024

The Routledge Companion to World Cinema, 2017

Digital Media Distribution

It has become commonplace to talk about the influence that technological developments have on aud... more It has become commonplace to talk about the influence that technological developments have on audiovisual media. At some point in the 20th century, video and broadcast television came to disturb the traditional organization of the cinema, revealing the image as soon as it was captured and bringing it into the audience’s home. Currently, computer synthesis and online networks have even stronger effects on the medium as they increase the public’s agency in the dynamics of the movie market. Film, as Professor Janet Harbord has so concisely summarized, ‘is not what it used to be’ (2007, p. 1). A number of technological, industrial and social shifts have affected it in recent years, the most notable being the fact that film is no longer ‘filmed’ – at least not on celluloid. Inasmuch as this might be the origin of a crisis in medium specificity, it is also what allows film to seamlessly converge with other media, escaping from the bounds of cinematic presentation into potentially limitles...

Participation: Journal of Audience and Reception Studies, May 1, 2016

It is tempting to view the rise of event-led cinema as a symptom of shifting audience preferences... more It is tempting to view the rise of event-led cinema as a symptom of shifting audience preferences-the i e ita le esult of i e agoe s i easi gl seeki g out i e si e , pa ti ipato a d e pe ie tial fil s ee i gs. The esearch presented within this particular article aimed to explore the appeal of such screenings by focusing on audiences at the Prince Charles Cinema (PCC) in Londona venue that is widely known for hosting singalongs, quote-alongs, and other participatory events. Our results, however, were surprising. Respondents to our questionnaire readily subscribed to a form of cinephilia that embraces a wide variety of tastes, but largely rejects participatory aspects of event-led cinema in favour of what they deemed to be a more authentic cinematic experience. Audiences repeatedly emphasised the superiority of the silent, reverential film screening, and many felt that the PCC s g eatest ualit as the a i hi h it e i ded the of ho i e as used to e, not what they might one day become. Ultimately, the article demonstrates that cinematic events are by no means the only option available to audiences who crave alternatives to ai st ea i e as. We all fo a e o side atio of the i e si e a d e pe ie tial dimensions of traditional cinemagoing, and a greater emphasis on the viewing conditions that facilitate an affective bond between audience and film. To us, the search for alternative cinema experiences seems to be more about the desire for cinema to get better at what it already does, not for it to change into something entirely different.

<p>This introductory chapter situates the volume's various investigations in projection... more <p>This introductory chapter situates the volume's various investigations in projection practices within the broader context of visual culture and screen studies, striving to go beyond their moments of technological crisis. It seeks to present projection simultaneously as a process inherent to the territorialisation of film, a specialized effect of complex optical apparatus, and a mode of organising the world. In exploring these different definitions, the chapter argues for the importance of a materialist approach to moving-image technologies and a spatial understandings of time-based media. By providing an overview of the book chapters, it dwells on the significant role that projection has to play as a practice, technology, and expressive form across multiple cultural, temporal, and geographical contexts.</p>

Cult Media

For film audiences, the move from analogue to digital brings with it an increased opportunity to ... more For film audiences, the move from analogue to digital brings with it an increased opportunity to access (and adapt) the constituent parts of a film. Within the context of online piracy, the media ‘objects’ shared are necessarily already disconnected from this final ‘product’ form. Furthermore, the file sharers discussed herein suggest that certain proprietorial rights are accorded to them because of the creative labour involved in modifying and sharing films within their community. However, due to what the community members acknowledge as the ‘illegal’ nature of their activities, their understandings of ownership become both complicated and conflicted. Thus, this chapter will examine how these file sharers engage with these consumer film ‘products’ and how such actions are interconnected with their practices of intangible product piracy.

The concept of textual poaching positions fans as active audiences who borrow from, embellish and... more The concept of textual poaching positions fans as active audiences who borrow from, embellish and remix textual materials as part of their consumption. However, this potentially invasive behaviour is often at odds with the rights and demands of intellectual property holders. Through case studies of alternate reality games, filesharing networks, Twitter hashtags, and football (soccer) fandom, this forum article brings together four scholars to discuss the inherent tension between brands and fannish consumer practices. In particular, the authors focus on the interplay of power and control between the two parties, debating the extent to which fandom might be considered a negotiated form of brand ownership.

Film Distribution in the Digital Age, 2015

Before launching into a history of ‘filesharing’, this chapter will take issue with the terminolo... more Before launching into a history of ‘filesharing’, this chapter will take issue with the terminology used within its own heading while acknowledging that, despite the problematic association with the term ‘filesharing’ (and piracy more generally), a suitable alternative has yet to present itself.1 While Ramon Lobato’s term ‘informal’ is helpful as a general term that provides ‘a loose way of conceptualising certain forms of film culture, which are incompatible with more familiar paradigms’ (original emphasis; Lobato, 2007, p. 114), such terminology is too broad for the purposes of this chapter. That is, while Lobato suggests that piracy might come under this banner of ‘informal’ distribution, not all methods of informal distribution can be understood as piracy. While the umbrella terms ‘informal’ and ‘formal’ circumvent the negative associations of the more popular terms ‘illegal’ and ‘legal’, the question remains as to what terminology we must use to accurately describe the subcategories that exist beneath.

for the degree of PhD in Media and Communications I hereby declare that the work presented herein... more for the degree of PhD in Media and Communications I hereby declare that the work presented herein is entirely my own …………………………..

Film Distribution in the Digital Age, 2015

Journal of Japanese and Korean Cinema, 2012

This document is the author's post-print version, incorporating any revisions agreed during the p... more This document is the author's post-print version, incorporating any revisions agreed during the peer-review process. Some differences between the published version and this version may remain and you are advised to consult the published version if you wish to cite from it. CURVE is the Institutional Repository for Coventry University http://curve.coventry.ac.uk/open 'BLOODY PIRATES!!! *shakes fist*': Reimagining East Asian film distribution and reception through online filesharing networks

The concept of textual poaching positions fans as active audiences who borrow from, embellish and... more The concept of textual poaching positions fans as active audiences who borrow from, embellish and remix textual materials as part of their consumption. However, this potentially invasive behaviour is often at odds with the rights and demands of intellectual property holders. Through case studies of alternate reality games, filesharing networks, Twitter hashtags, and football (soccer) fandom, this forum article brings together four scholars to discuss the inherent tension between brands and fannish consumer practices. In particular, the authors focus on the interplay of power and control between the two parties, debating the extent to which fandom might be considered a negotiated form of brand ownership.

Live Cinema: Cultures, Economies, Aesthetics , 2017

Crisp, Virginia (2017) ‘Against Participation: Cinephilia, Nostalgia, and the Pleasures of Attend... more Crisp, Virginia (2017) ‘Against Participation: Cinephilia, Nostalgia, and the Pleasures of Attending an 'Alternative' Cinema Space’ In Sarah Atkinson and Helen Kennedy, eds. Live Cinema: Cultures, Economies, Aesthetics London: Bloomsbury, pp. 153 – 166.

Cult Media: Re-packaged, Re-released and Restored, 2017

Crisp, Virginia (2017) ‘Pirates and Proprietary Rights: Perceptions of ‘Ownership’ and Media Obje... more Crisp, Virginia (2017) ‘Pirates and Proprietary Rights: Perceptions of ‘Ownership’ and Media Objects within Filesharing Communities’ in Andy Willis and Jonathan Wroot, eds. Cult Media: Re-packaged, Re-released and Restored, London: Palgrave, pp. 125 – 141.

Routledge Companion to the Mapping World Cinema, 2017

Crisp, Virginia (2017) ‘Access and Power: Film Distribution, Re-intermediation and Piracy’ in Pau... more Crisp, Virginia (2017) ‘Access and Power: Film Distribution, Re-intermediation and Piracy’ in Paul Cooke, Stephanie Dennison and Alexander Marlow-Mann, eds. Routledge Companion to the Mapping World Cinema Series, London: Routledge, pp. 445 – 454.

Participations, May 2013

"The concept of textual poaching positions fans as active audiences who borrow from, embellish an... more "The concept of textual poaching positions fans as active audiences who borrow from, embellish and remix textual materials as part of their consumption. However, this potentially invasive behaviour is often at odds with the rights and demands of intellectual property holders.

Through case studies of alternate reality games, filesharing networks, Twitter hashtags, and football (soccer) fandom, this forum article brings together four scholars to discuss the inherent tension between brands and fannish consumer practices. In particular, the authors focus on the interplay of power and control between the two parties, debating the extent to which fandom might be considered a negotiated form of brand ownership."