Markos Hadjioannou, Associate Professor of Literature and Arts of the Moving Image Certificate

Markos Hadjioannou

The theoretical framework of my research interests focuses on the polymorphism of cinema studies, as well as the potentiality of the “medium” as a process of intermediations. With this in mind, my first research project turned to the impact of digital cinema on contemporary film theory, looking at the relationship between celluloid and digital technologies. My main concern here was the existential implication of the viewer in the world screened, and what the particular structures of a technology may mean for the viewer-screen-world structure. While turning to the technical basis of the image, as well as the creative and perceptual activities of moviemakers and viewers alike, I discussed the digital not as a distinct rupture in the history of cinema but as a new form whose continuous contact with previous traditions creates a setting of technical and theoretical overlaps, exchanges, and developments. This project forms the basis of my first monograph From Light to Byte: Toward an Ethics of Digital Cinema (Minneapolis: University of Minnesota Press, 2012).

I am now in the early stages of a new research project, The Interactive Spectator, which is concerned more specifically with cinema spectatorship and medial interactivity. From digital cinema, to new media art and performance, and from computing, to gaming and social activism, digital technologies have had a vast impact on our spectatorial experiences of media, and our participation in culture and society. No longer in just a cinematic setting, the viewer has now become a multiply refracted interactive spectator. In order to account for the challenges this poses for a conventional understanding of individuality and agency, this project argues for a fundamental reconceptualization of spectatorship and medial interactivity, where interactivity is interpreted as a continuously variable, heterochronic, and synthetic act of individuation and socialization. 

Contact Info:
Office Location:  1316 Campus Dr, Rm 101C Friedl Bldg, Box 90670, Durham, NC 27708
Office Phone:  (919) 684-5107
Email Address:   send me a message
Web Page:  

Teaching (Fall 2019):

  • LIT 316S.01, FILM THEORY Synopsis
    Friedl Bdg 102, TuTh 11:45 AM-01:00 PM
  • LIT 620S.01, FILM-PHILOSOPHERS-FILM-MAKERS Synopsis
    Friedl Bdg 102, Tu 03:05 PM-05:35 PM
Office Hours:

By appointment
Education:

Ph.D.King's College2009
Specialties:

Film Theory & History
Research Interests: Film Theory and Cinema Aesthetics

The theoretical framework of my research interests focuses on the polymorphism of cinema studies, as well as the potentiality of the “medium” as a process of intermediations. With this in mind, my first research project turned to the impact of digital cinema on contemporary film theory, looking at the relationship between celluloid and digital technologies. My main concern here was the existential implication of the viewer in the world screened, and what the particular structures of a technology may mean for the viewer-screen-world structure. While turning to the technical basis of the image, as well as the creative and perceptual activities of moviemakers and viewers alike, I discussed the digital not as a distinct rupture in the history of cinema but as a new form whose continuous contact with previous traditions creates a setting of technical and theoretical overlaps, exchanges, and developments. This project forms the basis of my monograph From Light to Byte: Toward an Ethics of Digital Cinema, forthcoming by the University of Minnesota Press (Fall, 2012). I am now in the early stages of a new research project concerned more specifically with cinema spectatorship and new media interactivity. As digital technology transcends media boundaries, I address contemporary forms of spectatorship by looking at the potential of physical and psychological engagement with the screen through interactivity in its various guises: CD/DVD-ROMs, DVD and Blu-ray Discs, e-cinema and online fandom, Virtual Reality communities, and computer game technologies. My concern lies in the relationship interactivity generates between the screen and the viewer/user/gamer, especially with reference to the new activity of the spectatorial role, which leads to a form of responsive identification. Here, I turn to the Nietzschean thrust of Pierre Klossowski's philosophy, where the corporeal “gesture” is given a particular prominence in the discussion of symbolic systems. Indeed, it is the possibility of breaking out of a deterministic setting and moving toward an existential creativity that interests me here, and which becomes of vital importance in my examination of digital spectatorship.

Areas of Interest:

Film and New Media
Film Theory and Philosophy
Spectatorship and Ethics
Contemporary Cinema Cultures
Contemporary Film History

Recent Publications   (More Publications)

  1. Hadjioannou, M; Chow, R, The Hitchcockian Nudge; or, An Aesthetics of Deception, Representations, vol. 140 no. 1 (2017), pp. 159-174, University of California Press [doi]  [abs].
  2. Markos Hadjioannou,, Documenting the Son/iconic Discord, Discourse, vol. 39 no. 3 (2017), pp. 356-356, Wayne State University Press [doi] .
  3. Hadjioannou, M, In the Cold Night of the Day: On Film Noir, Hitchcock, and Identity, Cultural Critique, vol. 94 no. Fall (2016), pp. 127-155 .
  4. Hadjioannou, M, From Light to Byte: Toward an Ethics of Digital Cinema (December, 2012), University of Minnesota Press [from-light-to-byte]  [abs].
  5. Hadjioannou, M, In Search of Lost Reality: Waltzing with Bashir, in Deleuze and Film, Deleuze Connections., edited by Martin-Jones, D; Brown, W (April, 2012), Edinburgh University Press  [abs].