Beowulf: The digital monster movie

Animation

Volumn 4, Issue 2, 2009, Pages 153-168

  Brown, William ^a  

^a UNIVERSITY OF ST ANDREWS   (United Kingdom)

Author keywords

Animation; Beowulf; Cinema; Henri Bergson; Monster; Monstrosity; Montrage; Motion capture; Robert Zemeckis; Synthespian

Indexed keywords

EID: 68349152348     PISSN: 17468477     EISSN: 17468485     Source Type: Journal    
DOI: 10.1177/1746847709104645     Document Type: Article

References (36)

1. Aldred, J. (2006) 'All Aboard The Polar Express:A "Playful" Change of Address in the Computer-Generated Blockbuster', animation: an interdisciplinary journal 1 (2). 153-72.
2. Ambrose,T. (2007) 'He Is Legend', Empire 223: 138-42.
3. Beard, J. (1997) 'Will the Reel, er, Real Bill Clinton Please Stand Up: The Unauthorised Use of the President's Image - A New "Contact" Sport', Entertainment and Sports Lawyer 15 (4). 3ff.
4. Bergson, H. (1912 [ 1900 ]) Le rire: Essai sur la signification du comique. Paris: Félix Alcan.
5. Blair, I. (2007) 'Visual Effects: Beowulf', Post, 1 November.
6. Bode, L. (2006) 'From Shadow Citizens to Teflon Stars: Reception of the Transfiguring Effects of New Moving Image Technologies', animation: an interdisciplinary journal 1 (2). 173-89.
7. Bordwell, D. (2002) 'Intensified Continuity:Visual Style in Contemporary American Film', Film Quarterly 55 (3). 16-28.
8. Bukatman, S. (2003) Matters of Gravity: Special Effects and Supermen in the 20th Century. Durham, NC: Duke University Press.
9. Carnevale, R. (2007) 'Beowulf - Ray Winstone Interview', indie London: go anywhere virtually.
10. Chang, J. (2007) Review of Beowulf, Variety, 11 November.
11. Corliss, R. (2007) 'Beowulf and Grendel - and Grendma', Time, 16 November.
12. Creed, B. (1993) The Monstrous Feminine: Film, Feminism, Psychoanalysis. London: Routledge.
13. Creed, B. (2000) 'The Cyberstar: Digital Pleasures and the End of the Unconscious', Screen 41 (1). 79-86.
14. Cubitt, S. (1999) 'Introduction: Le reel, c'est l'impossible: The Sublime Time of Special Effects', Screen 40 (2). Summer: 123-30.
15. Dargis, M. (2007) 'Confronting the Fabled Monster, Not to Mention His Naked Mom', The New York Times, 16 November.
16. Deleuze, G. (1989 [ 1985 ]) Cinema 2: The Time Image, trans. H. Tomlinson and R. Galeta. Minneapolis: University of Minnesota Press.
17. Doane, M. (2002) The Emergence of Cinematic Time: Modernity, Contingency, The Archive. Cambridge, MA: Harvard University Press.
18. Duncan, J. (2008) 'All the Way', Cinefex 112: 44-50 ; 55-9.
19. Ebert, R. (2007) 'Beowulf: I Am the Very Model of a Medieval Monster Slaughterer', Chicago Sun Times, 15 November.
20. Elsaesser, T. and Buckland, W. (2002) Studying Contemporary American Cinema: A Guide to Movie Analysis. London: Arnold.
21. Gaudreault,A. (1990) 'Showing and Telling: Image and World in Early Cinema', trans. J. Howe. in T. Elsaesser and A. Barker (eds) Early Cinema: Space, Frame, Narrative, pp., 274-81. London: BFI.
22. Gaylard, G. (2004) 'Postmodern Archaic: The Return of the Real in Digital Virtuality', Postmodern Culture 15 ( 1 ).
23. Hadjioannou, M. (2008) 'How Does the Digital Matter? Envisioning Corporeality through Christian Volckman's Renaissance', Studies in French Cinema 8 (2). 123-36.
24. Keane, S. (2007) CineTech: Film, Convergence and New Media. Basingstoke: Palgrave Macmillan.
25. Kohler, C. (2007) 'What Beowulf Means for the Convergence of Movies and Games', Wired, 10 November.
26. Kurtz, L. (2005) 'Digital Actors and Copyright - From The Polar Express to Simone', Santa Clara Computer and High Technology Law Journal 21: 783.
27. Marshall, L. (2007) 'Rise of the Machines', Screen International 1606: 3.
28. Mori, M. (1970) 'The Uncanny Valley', trans. K.F. MacDorman and Takashi Minato, Energy 7 (4). 33-5.
29. North, D. (2005) 'Virtual Actors, Spectacle and Special Effects: King Fu Meets All That CGI Bullshit', in S. Gillis (ed.) The Matrix Trilogy: Cyberpunk Reloaded, pp. 48-61. London: Wallflower.
30. North, D. (2008) Performing Illusions: Cinema, Special Effects and the Coming of the Virtual Actor. London: Wallflower.
31. Osmond, A. (2007) Review of Beowulf, Sight and Sound 18 (1). 61-2.
32. Pierson, M. (2002) Special Effects: Still in Search of Wonder. New York: Columbia University Press.
33. Purse, L. (2005) 'The New Spatial Dynamics of the Bullet-Time Effect', in G. King (ed.) The Spectacle of the Real: From Hollywood to Reality TV and Beyond, pp. 151-60. Bristol: Intellect.
34. Wolf, M. (2003) 'The Technological Construction of Performance', Convergence: The International Journal of Research into New Media Technologies 9 (4). 48-59.
35. Wood, A. (2002) 'Timespaces in Spectacular Cinema: Crossing the Great Divide between Spectacle versus Narrative', Screen 43 (4). 370-86.
36. Wood, A. (2006) 'Re-Animating Space', animation: an interdisciplinary journal 1 (2). 133-52.