Publications of Markos Hadjioannou    :chronological  alphabetical  combined  by tags listing:

%% Books   
@book{fds295989,
   Author = {Hadjioannou, M},
   Title = {From Light to Byte: Toward an Ethics of Digital
             Cinema},
   Publisher = {University of Minnesota Press},
   Year = {2012},
   Month = {December},
   ISBN = {978-0-8166-7762-7},
   url = {http://www.upress.umn.edu/book-division/books/from-light-to-byte},
   Keywords = {Cinema Ontology • Celluloid and Digital Cinema •
             Film Theory • Film Philosophy • Gilles
             Deleuze},
   Abstract = {Cinema has been undergoing a technological shift in recent
             years, in which celluloid film is being replaced by digital
             media in the production, distribution, projection and
             reception of moving images. While these changes have had a
             direct impact on the organizational and economic operations
             of movie industries across the globe, they have also led to
             new aesthetic forms in both mainstream and avant-garde
             moviemaking, as well as novel possibilities for the ventures
             of independent and amateur moviemakers alike. Indeed, as the
             binary codification of the computer introduces different
             modes of recording and creating images, and expands the
             spectatorial experiences of movies quite significantly, we
             are faced once again with that primordial question: what is
             cinema? Concerned with the debate of digital cinema’s
             ontology, and the interrelationship between old and new
             media that is revealed in cinema cultures, <i>From Light to
             Byte</i> addresses the very idea of change as it is
             expressed in the current technological transition. In so
             doing, this book asks what is different in the way digital
             movies depict the world and engage with the individual, and
             how we may go about addressing the question of technological
             change within media archaeologies.},
   Key = {fds295989}
}


%% Articles in a Collection   
@article{fds295988,
   Author = {Hadjioannou, M},
   Title = {In Search of Lost Reality: Waltzing with
             Bashir},
   Series = {Deleuze Connections.},
   Pages = {104-120},
   Booktitle = {DELEUZE AND FILM},
   Publisher = {Edinburgh University Press},
   Editor = {Martin-Jones, D and Brown, W},
   Year = {2012},
   ISBN = {978-0748641208},
   Keywords = {Waltz with Bashir • Digital Cinema • Film Theory
             • Gilles Deleuze • Documentary
             Film},
   Abstract = {In line with the dynamic creativity exposed by both D. N.
             Rodowick and Gilles Deleuze, and with the aim of developing
             the impact of Deleuze’s film-philosophy further, this
             chapter addresses the position of reality in the cinematic
             image. The focus will be Ari Folman’s animated documentary
             <i>Vals Im Bashir/Waltz with Bashir</i> (2008), a
             mesmerising movie that triggers anew the debate regarding
             the documentarian’s treatment of the world. Through the
             creative practice of Folman’s vision, where the world
             documented is also animated, my aim is to question a common
             assertion regarding the world of non-fiction cinema, placing
             this type of filmmaking within the uniqueness of Deleuze’s
             approach to reality in cinema. In essence, what becomes
             central to my discussion is the impossibility of a clear
             opposition between fiction and non-fiction, and, most
             importantly, the question of what this means for the figure
             of reality within the cinematic image.},
   Key = {fds295988}
}


%% Papers Published   
@article{fds295985,
   Author = {Hadjioannou, M},
   Title = {David Lynch: Continuities of an Obsessive
             Nightmare},
   Journal = {Images and Views of Alternative Cinema (festival
             catalgue)},
   Publisher = {Theatro Ena},
   Year = {2011},
   Month = {June},
   Key = {fds295985}
}

@article{fds295984,
   Author = {Hadjioannou, M},
   Title = {Re-Possessed},
   Journal = {Cyprus Film Days 2011: 9th International Film Festival
             (catalgue)},
   Year = {2011},
   Month = {April},
   Key = {fds295984}
}

@article{fds295983,
   Author = {Hadjioannou, M},
   Title = {Markos Hadjioannou: A Digital Movie},
   Journal = {Fileleftheros: P.S. Sunday Art Supplement},
   Pages = {26},
   Year = {2006},
   Month = {April},
   Key = {fds295983}
}


%% Articles Online   
@article{fds361139,
   Author = {Chow, R and Hadjioannou, M},
   Title = {Fathers in flux},
   Journal = {Cultural Critique},
   Volume = {114},
   Pages = {23-39},
   Year = {2022},
   Month = {December},
   Key = {fds361139}
}

@article{fds336404,
   Author = {Hadjioannou, M},
   Title = {Documenting the Son/iconic Discord},
   Journal = {Discourse},
   Volume = {39},
   Number = {3},
   Pages = {356-375},
   Publisher = {Wayne State University Press},
   Year = {2017},
   url = {http://dx.doi.org/10.13110/discourse.39.3.0356},
   Doi = {10.13110/discourse.39.3.0356},
   Key = {fds336404}
}

@article{fds303038,
   Author = {Hadjioannou, M},
   Title = {In the Cold Night of the Day: On Film Noir, Hitchcock, and
             Identity},
   Journal = {Cultural Critique},
   Volume = {94},
   Number = {Fall},
   Pages = {127-155},
   Year = {2016},
   ISSN = {1534-5203},
   Key = {fds303038}
}

@article{fds295991,
   Author = {M. Hadjioannou and Rodosthenous, G and Hadjioannou, M},
   Title = {In Between Stage and Screen: The Intermedial in Katie
             Mitchell’s…some trace of her},
   Journal = {International Journal of Performance Arts and Digital
             Media},
   Volume = {7},
   Number = {1},
   Pages = {43-59},
   Publisher = {Intellect},
   Year = {2011},
   Month = {March},
   ISSN = {1479-4713},
   url = {http://www.intellectbooks.co.uk/journals/view-Article,id=10666/},
   Keywords = {Intermediality • Film and New Media • Theatre
             Studies • Katie Mitchell},
   Abstract = {Where theatre was not dependent on a projector and screen
             for the manifestation of its fictitious worlds, cinema had
             to rely on such equipment for its representation of moving
             photographic images. In so doing, cinema could achieve what
             theatre could only allude to with the help of costumes, set
             design and the general consensus of the audience: a
             representation of the world itself. Nevertheless, this
             ability of cinematicity could only be achieved at the price
             of a temporal and existential disjunction between actor and
             spectator a matter that did not occur in theatre as a result
             of its liveness. What happens, though, when the two media
             are brought together; when theatre's stage becomes the
             backstage for cinema, and cinema's construction is a live
             performance? This article analyses Katie Mitchell's
             intermedial performance some trace of her (2008) through an
             examination of the distinction between cinematic and
             theatrical art forms. The authors look at the amalgamation
             of the theatrical space with the cinematic space, examining
             what intermedial approaches to artistic creation have on the
             performing and visual arts and their spectatorial
             experiences. For this, they reflect on Mitchell's
             controversially received work through the prism of
             existential phenomenology, examining the ontological
             implications of the performance's intermediality.},
   Doi = {10.1386/padm.7.1.43_1},
   Key = {fds295991}
}

@article{fds295987,
   Author = {Hadjioannou, M},
   Title = {Waking Life: The Destiny of Cinema’s Dreamscape; or the
             Question of Old and New Mediations},
   Journal = {Excursions},
   Volume = {1},
   Number = {1},
   Pages = {53-72},
   Year = {2010},
   ISSN = {2044-4095},
   url = {http://www.excursions-journal.org.uk/index.php/excursions/article/view/11},
   Keywords = {Digital Cinema • Waking Life • Linklater •
             Digital Rotoscoping • Corporeality},
   Abstract = {In light of the current transition from celluloid to digital
             cinema, this paper will explore the relation between old and
             new technologies as a means for understanding medium
             specificity as an activity of mediation. While the ongoing
             debate in screen studies aims at clarifying the extent of
             digital technology’s effects, it seems that the new
             technology is either being interpreted as inducing a rupture
             in film history clearly distinct from celluloid, or as
             directly repeating strategies, goals, forms, and impulses
             specific to an indexical and analogical visual culture.
             Indeed, the desire to acknowledge points of divergence or
             close interaction between technological forms is
             unquestionably useful; but my own approach to the
             technological change takes into account both the differences
             and similarities of forms as a means of exploring medium
             specificity. This will be a matter of dealing with the new
             as not new or old, but new and old – as simultaneously
             distinct and interactively interrelated, so that each medium
             acquires a space of its own without fixed boundaries. Rather
             than merge the one form into the other, the ontological
             explication of a medium may take account of its specific
             technological base while simultaneously paying attention to
             previous technologies that reside in it intact yet affected
             by the contextual possibilities of the new. Newness, thus
             understood, becomes a complex concurrency of differences and
             similarities that shift the borders of distinct forms in
             unexpected and continually renewable ways. With this in
             mind, I will discuss an example of digital mediation through
             Richard Linklater’s Waking Life (2001), with a focus on
             the digital’s power for a creative interpretation of
             reality’s experience.},
   Key = {fds295987}
}

@article{fds295990,
   Author = {Hadjioannou, M},
   Title = {How Does the Digital Matter? Envisioning Corporeality
             through Christian Volckman’s Renaissance},
   Journal = {Studies in French Cinema},
   Volume = {8},
   Number = {2},
   Pages = {123-136},
   Publisher = {Intellect},
   Year = {2008},
   Month = {June},
   ISSN = {1471-5880},
   url = {http://dx.doi.org/10.1386/sfc.8.2.123_1},
   Keywords = {Digital Cinema • Film and New Media • Christian
             Volckman • Renaissance},
   Abstract = {Existential phenomenology addresses the idea of vision as an
             embodied and meaningful activity. Within this schema,
             perception is already informed by the sensory intentionality
             of the living being that is setting itself within a
             dialectical and dialogical relation to the world. In such an
             understanding of experience, cinematic vision is positioned
             within the individual and historical person who interacts
             with a screen that itself reflects an existential relation
             between body and world. But what happens when digital images
             present entities and spaces that are physically not part of
             this world? How, in other words, do computational structures
             affect cinema's relation with reality? This article examines
             arguments concerned with the relation between digital media
             and corporeality, filtering them through the work of André
             Bazin, Roland Barthes, and Gilles Deleuze. From the point of
             view exhibited by Christian Volckman's Renaissance (2006),
             it questions the idea that digital cinema is a one-way
             ticket to incorporeality, suggesting that the new technology
             does in fact retain the ability to matter through nuances
             specific to its own constructions.},
   Doi = {10.1386/sfc.8.2.123_1},
   Key = {fds295990}
}

@article{fds295986,
   Author = {Hadjioannou, M},
   Title = {Into Great Stillness, Again and Again: Gilles Deleuze’s
             Time and the Constructions of Digital Cinema},
   Journal = {Rhizomes},
   Volume = {16},
   Editor = {Ashton, D and Callen, D},
   Year = {2008},
   Month = {Summer},
   ISSN = {1555-9998},
   url = {http://www.rhizomes.net/issue16/hadji/},
   Keywords = {Digital Cinema • Into Great Silence • Gröning
             • Gilles Deleuze • Time and Cinema},
   Abstract = {The direct inscription of reality’s illuminations so
             fundamental for the creation of celluloid images is missing
             from the digital, which by forcing a series of conversions
             into its constructions, makes temporal relations difficult
             to uphold. Of course, a perceptual realism allows for
             reality to be recognisable in the digital image according to
             a habitual reading of coordinates and structural relations
             of space and light. Nevertheless, the mathematical notations
             that lie at the basis of the image raise the question of an
             ontological grounding that finds its roots in the
             consequences of time. What seems to be at stake is not an
             iconic impression of reality, but a link to time as
             historical trace, as unpredictable progression, as
             expression of change. At the same time, though, it just
             might be that, while the digital clearly separates itself
             from celluloid technologies on the basis of its operative
             configurations, it nonetheless can invoke the ontological
             force of change on grounds other than indexicality. Guided
             by this premise, it will be the aim of this article to
             examine the relationship between celluloid and digital
             structures, in order to see where time can be found in new
             forms of cinematic production. As such, I will initially
             turn to the temporal relations of celluloid film to see how
             the digital disrupts the bond between image and time, and
             then see how the digital itself can become an image of time
             through the work of Gilles Deleuze.},
   Key = {fds295986}
}