Scrapbook [17/02/19]
“Machinima’s position within the field of visual culture is ambiguous, as it belongs simultaneously to different contexts, including contemporary art, experimental cinema, and game fandom. A practice once limited to a subculture has now become a global phenomenon, as a conjunction of interests coalesced around the idea of digital gaming as a space for visual experimentation. An increasing number of artists who do not necessarily associate with electronic entertainment – or even reject its overt and implicit ideologies – treat video games not to amuse, but as a resource that can be used, abused, and discarded. They question structures of surveillance and control; sex, gender, and class representation in media; political and/as personal issues; authorship and originality; memory and loss; the utopian promises vs. the dystopian consequences of technology. From art schools to online forums, from video sharing sites to live streaming platforms, machinima is evolving both conceptually and aesthetically in unexpected, and therefore interesting, ways.” - ‘Machinima Is Not A Game’ - Matteo Bittanti
Ce qui me manque (Isabelle Arvers, 2019)
“Machinima has been appreciated in many ways, whether as an unexpected outcome of game technology, as an economical and accessible alternative to frame-based animation or, following Henry Jenkins (2011), as a form of DIY media. Through its childhood, machinima has been characterized in terms of unanticipated innovation, subversion, modification, and hacking, as well as ideas about new narratives, forms of production, spectatorship, media consumption and fan communities. In other words, machinima offers plenty of opportunities for taking positions about the promise and potential of a new media format. As machinima moves through its adolescence into young adulthood, its many parents, students, and teachers look forward to the next sixteen years of innovation and creativity. ”