Thinking Cinematic is dedicated to exploring the moving image and the cinematic form. Short hybrid documentary videos examine a myriad of issues, ideas, concepts and critical approaches to cinema, gaming, video art and visual media. These sit along side video works engaging with contemporary processes and digital-culture perspectives.What cinema is, was and can be...
Joss speaks openly and candidly about his obsession with Adolescent girls with Super-Powers whilst delivering ; pearls of wisdom about the writing process. Joss also lets fly some great comic timing in a highly entertaining talk.Recorded at the iconic Sydney opera House concert-hall 29th August 2010.
is this a game? what are the rules? how do i win? This episode of Game Probe explores the game-story world of Dear Esther, a Source engine mod by the chineseroom.co.ukWithout conflict or obstacle, weapon or foe, Dear Esther constructs an engaging journey in memory and landscape and along the way challenges the notion of 'game' itself.
Internal perception. This episode of Game Probe takes a look at Mirror's Edge and the construction of a sense of bodily self, known as proprioception, within the game and the dynamics of visceral engagment.
This short video documentary brings together some of Australia's leading cinema practitioners - from across directing, script editing, acting, producing and sound designing - to garner insights and perspectives on their artistic practice and industry perspective. It features exclusive interviews with actor Miranda Otto, feature film and TV director Samantha Lang and multi-award winning sound designer Annie Breslin. For any filmmaker or filmmaking student this video presents an array of articul...
The infamous Shalbridge Cradle level from Theif: Deadly Shadows presents one of the most profoundly effecting gaming moments ever created. The episode explores the nature of self actualized in the game and the carefully constructed sense of fear dervived from nothingness.
Episode 2 in the Game Probe series looks at the much celebrated Half Life 2. Whilst much of the praise heaped on HL2 was directed at its superb physics engine, HDR light mapping and deeply engaging narrative, what went largely unnoticed is that it set a new paradigm for first-person shooter genre games - no cut scenes. A singular and unbroken perspective with no folding of time through cuts or editing shifts.
Episode 5 in the Game Probe series looks at the fascinating mechanics of Portal. With the manipulation of space and physics as its central vehicle, Portal points to new constructions of stroy and metaphor embedded in the walls themselves.
This episode looks at Company of Heroes, along with the Real Time Strategy genre, as a cinematic experience driven by the Player As Cinematographer. COH presents a paradigm where the cinematic thrill of 'seeing' is driven by the players role in the composition of moments and vistas.
Bioshock constructs its cinematic experience through the composition of architectural space above and beyond the singular frame. As with any great work of architecture the freedom to look anywhere is curtailed by a finely and carefully crafted set of vistas where the designer continually prompts the viewer/player to be positioned and to gaze at features, views and 'frames' specifically arranged for specific visual impact and narrative engagement.
