Neo-Baroque Aesthetics and Contemporary Entertainment |
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| Author:
| Ndalianis, Angela |
| Series title: | Media in Transition Ser. |
| ISBN: | 978-0-262-14084-3 |
| Publication Date: | Apr 2004 |
| Publisher: | MIT Press
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| Book Format: | Hardback |
| List Price: | AUD $32.99 |
Book Description:
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Tracing the logic of media history, from the baroque to the neo-baroque, from magic lanterns and automata to film and computer games.
The artists of the seventeenth-century baroque period used spectacle to delight and astonish; contemporary entertainment media, according to Angela Ndalianis, are imbued with a neo-baroque aesthetic that is similarly spectacular. In Neo-Baroque Aesthetics and Contemporary Entertainment, she situates today's film, computer games,...
More Description
Tracing the logic of media history, from the baroque to the neo-baroque, from magic lanterns and automata to film and computer games.
The artists of the seventeenth-century baroque period used spectacle to delight and astonish; contemporary entertainment media, according to Angela Ndalianis, are imbued with a neo-baroque aesthetic that is similarly spectacular. In Neo-Baroque Aesthetics and Contemporary Entertainment, she situates today's film, computer games, comic books, and theme-park attractions within an aesthetic-historical context and uses the baroque as a framework to enrich our understanding of contemporary entertainment media.
The neo-baroque aesthetics that Ndalianis analyzes are not, she argues, a case of art history repeating or imitating itself; these forms have emerged as a result of recent technological and economic transformations. The neo-baroque forms combine sight and sound and text in ways that parallel such seventeenth-century baroque forms as magic lanterns, automata, painting, sculpture, and theater but use new technology to express the concerns of the late twentieth and early twenty-first century. Moving smoothly from century to century, comparing ceiling paintings to the computer game Doom, a Spiderman theme park adventure to the baroque version of multimedia known as the Bel Composto, and a Medici wedding to T erminator 2:3D, the book demonstrates the logic of media histories. Ndalianis focuses on the complex interrelationships among entertainment media and presents a rigorous cross-genre, cross-historical analysis of media aesthetics.