Digital 3D has become a core feature of the twenty-first-century visual landscape. Yet 3D cinema is a contradictory media form: producing spaces that are highly regimented and exhaustively detailed, it simultaneously relies upon distortions of vision and space that are inherently strange. Spaces Mapped and Monstrous explores the paradoxical nature of 3D cinema to offer a critical analysis of an inescapable part of contemporary culture. Considering 3D’s distinctive visual qualities and its connections to wider digital systems, Nick Jones situates the production and exhibition of 3D cinema within a web of aesthetic, technological, and historical contexts. He examines 3D’s relationship with computer interfaces, virtual reality, and digital networks as well as tracing its lineage to predigital models of visual organization. Jones emphasizes that 3D is not only a technology used in films but also a tool for producing, controlling, and distorting space within systems of surveillance, corporatization, and militarization. The book features detailed analysis of a wide range of films—including Avatar (2009), Goodbye to Language (2014), Love (2015), and Clash of the Titans (2010)—demonstrating that 3D is not merely an augmentation of 2D cinema but that it has its own unique properties. Spaces Mapped and Monstrous brings together media archaeology, digital theory, and textual analysis to provide a new account of the importance of 3D to visual culture today.

The continued importance of Christian rhetorics in political, social, pedagogical, and civic affairs suggests that such rhetorics not only belong on the map of rhetorical studies, but are indeed essential to the geography of rhetorical studies in the twenty-first century. This collection argues that concerning ourselves with religious rhetorics in general and Christian rhetorics in particular tells us something about rhetoric itself—its boundaries, its characteristics, its functionings. In assembling original research on the intersections of rhetoric and Christianity from prominent and emerging scholars, Mapping Christian Rhetorics seeks to locate religion more centrally within the geography of rhetorical studies in the twenty-first century. It does so by acknowledging work on Christian rhetorics that has been overlooked or ignored; connecting domains of knowledge and research areas pertaining to Christian rhetorics that may remain disconnected or under connected; and charting new avenues of inquiry about Christian rhetorics that might invigorate theory-building, teaching, research, and civic engagement. In dividing the terrain of Christian rhetorics into four categories—theory, education, methodology, and civic engagement—Mapping Christian Rhetorics aims to foster connections among these areas of inquiry and spur future future collaboration between scholars of religious rhetoric in a range of research areas.

History : the long view of 3D film and theory -- Visualisation : from perspective to digital 3D -- Simulation : dematerialising and enframing -- Immersion : entering the screen -- Surveillance : converting image to space, world to data -- Defamiliarisation : rethinking the screen plane -- Distortion : unfamiliar and unconventional space -- Intimacy : the boundedness of stereoscopic media -- Conclusion: Seeing in 3D.

Winner, 2023 Lewis Mumford Award for Outstanding Scholarship in the Ecology of Technics, Media Ecology Association Although virtual reality promises to immerse a person in another world, its true power lies in its ability to sever a person’s spatial situatedness in this one. This is especially clear in Japan, where the VR headset has been embraced as a way to block off existing social environments and reroute perception into more malleable virtual platforms. Is immersion just another name for enclosure? In this groundbreaking analysis of virtual reality, Paul Roquet uncovers how the technology is reshaping the politics of labor, gender, home, and nation. He examines how VR in Japan diverged from American militarism and techno-utopian visions and became a tool for renegotiating personal space. Individuals turned to the VR headset to immerse themselves in three-dimensional worlds drawn from manga, video games, and genre literature. The Japanese government promised VR-operated robots would enable a new era of remote work, targeting those who could not otherwise leave home. Middle-aged men and corporate brands used VR to reimagine themselves through the virtual bodies of anime-styled teenage girls. At a time when digital platforms continue to encroach on everyday life, The Immersive Enclosure takes a critical look at these attempts to jettison existing social realities and offers a bold new approach for understanding the media environments to come.

The chapters contained in this handbook address key issues concerning the aesthetics, ethics, and politics of violence in film and media. In addition to providing analyses of representations of violence, they also critically discuss the phenomenology of the spectator, images of atrocity in international cinema, affect and documentary, violent video games, digital infrastructures, cruelty in art cinema, and media and state violence, among many other relevant topics. The Palgrave Handbook of Violence in Film and Media updates existing studies dealing with media and violence while vastly expanding the scope of the field. Representations of violence in film and media are ubiquitous but remain relatively understudied. Too often they are relegated to questions of morality, taste, or aesthetics while judgments about violence can themselves be subjected to moral judgment. Some may question whether objectionable images are worthy of serious scholarly attention at all. While investigating key examples, the chapters in this handbook consider both popular and academic discourses to understand how representations of violence are interpreted and discussed. They propose new approaches and raise novel questions for how we might critically think about this urgent issue within contemporary culture.

The director and cowriter of some of the world's most iconic films—including Double Indemnity, Sunset Blvd., Some Like It Hot, and The Apartment—Billy Wilder earned acclaim as American cinema's greatest social satirist. Though an influential fixture in Hollywood, Wilder always saw himself as an outsider. His worldview was shaped by his background in the Austro-Hungarian Empire and work as a journalist in Berlin during Hitler's rise to power, and his perspective as a Jewish refugee from Nazism lent his films a sense of the peril that could engulf any society. In this critical study, Joseph McBride offers new ways to understand Wilder's work, stretching from his days as a reporter and screenwriter in Europe to his distinguished as well as forgotten films as a Hollywood writer and his celebrated work as a writer-director. In contrast to the widespread view of Wilder as a hardened cynic, McBride reveals him to be a disappointed romantic. Wilder's experiences as an exile led him to mask his sensitivity beneath a veneer of wisecracking that made him a celebrated caustic wit. Amid the satirical barbs and exposure of social hypocrisies, Wilder’s films are marked by intense compassion and a profound understanding of the human condition. Mixing biographical insight with in-depth analysis of films from throughout Wilder's career as a screenwriter and director of comedy and drama, and drawing on McBride's interviews with the director and his collaborators, this book casts new light on the full range of Wilder's rich, complex, and distinctive vision.

In the mid-2010s, a passionate community of Los Angeles-based storytellers, media artists, and tech innovators formed around virtual reality (VR), believing that it could remedy society’s ills. Lisa Messeri offers an ethnographic exploration of this community, which conceptualized VR as an “empathy machine” that could provide glimpses into diverse social realities. She outlines how, in the aftermath of #MeToo, the backlash against Silicon Valley, and the turmoil of the Trump administration, it was imagined that VR—if led by women and other marginalized voices—could bring about a better world. Messeri delves into the fantasies that allowed this vision to flourish, exposing the paradox of attempting to use a singular VR experience to mend a fractured reality full of multiple, conflicting social truths. She theorizes this dynamic as unreal, noting how dreams of empathy collide with reality’s irreducibility to a “common” good. With In the Land of the Unreal, Messeri navigates the intersection of place, technology, and social change to show that technology alone cannot upend systemic forces attached to gender and race.