This book is the first dedicated edited collection that explores the virtualisation of screen-making processes from pre-production to post-production, while attuning to the aesthetic, ideological and performative contexts upended by these integrated technologies. This book explores what is real in virtual production, as a provocative one, implicitly drawing on the philosophies of the moving image and the recent work on new forms of post-human perceptual realism.

This edited collection is divided into the following four themed sections. Section One, It’s Always Been Real: Contemporising Virtual Production, addresses the histories of film realism in relationship to visual technologies, providing both a theoretical and philosophical ‘anchor’ point for the collection, and a necessary genealogy. Section Two, The Body Becomes You: Performing Virtual Production, examines the transformation that occurs in immersive virtual worlds, while also exploring how the body is itself virtualised. Section Three, Skin Deep: Gazing with Virtual Production, addresses the way race, ethnicity, gender and environment are supposedly equalised, and yet are still found to reproduce the colonised looking regimes of western, mainstream screen culture. Section Four, Whose Work? Labouring with Virtual Production, draws together writing that examines the way production processes have been transformed, affecting not only work patterns but also the way aesthetics, form and function, operate.

This book encompasses many production themes and will appeal to media students and professionals interested in the production of film.

Chapter 11 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC BY-NC-ND)] 4.0 license.

This book is the first dedicated edited collection that explores the virtualisation of screen-making processes from pre-production to post-production, while attuning to the aesthetic, ideological and performative contexts upended by these integrated technologies. This book explores what is real in virtual production, as a provocative one, implicitly drawing on the philosophies of the moving image and the recent work on new forms of post-human perceptual realism.

This edited collection is divided into the following four themed sections. Section One, It’s Always Been Real: Contemporising Virtual Production, addresses the histories of film realism in relationship to visual technologies, providing both a theoretical and philosophical ‘anchor’ point for the collection, and a necessary genealogy. Section Two, The Body Becomes You: Performing Virtual Production, examines the transformation that occurs in immersive virtual worlds, while also exploring how the body is itself virtualised. Section Three, Skin Deep: Gazing with Virtual Production, addresses the way race, ethnicity, gender and environment are supposedly equalised, and yet are still found to reproduce the colonised looking regimes of western, mainstream screen culture. Section Four, Whose Work? Labouring with Virtual Production, draws together writing that examines the way production processes have been transformed, affecting not only work patterns but also the way aesthetics, form and function, operate.

This book encompasses many production themes and will appeal to media students and professionals interested in the production of film.

Chapter 11 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC BY-NC-ND)] 4.0 license.

Radical Mainstream examines independent film and video cultures in Britain from the mid-1970s to the late 1980s in the context of struggles against capitalism, patriarchy, racism, colonialism and homophobia, examining relations between counterpublics and social change. The book considers this period in order to examine the capacity for radical discourse to affect dominant cultural media forms, arguing that independent film- and video-makers helped transform television into a vital site of counterpublic discourse.

The end of the twentieth century saw the development of new social models of film and video production and exhibition alongside the formation of new alliances to campaign for changes to social practice, policy and legislature. Radical Mainstream explores the interrelation between public debate, institutions and individuals, arguing that independent film and video in Britain at this time – including activist documentary, currents of counter-cinema, avant-garde film and video art – were largely concerned with creating and circulating counterpublic discourses. The book traces the diversity of the influences on independent film and video, from socialist and liberation movements to popular radical histories and psychoanalytic and Marxist film theory. The account provides a historic backdrop to contemporary documentary and moving image work, and illuminates the heritage of critical thinking within such practices.

This book is the first dedicated edited collection that explores the virtualisation of screen-making processes from pre-production to post-production, while attuning to the aesthetic, ideological and performative contexts upended by these integrated technologies. This book explores what is real in virtual production, as a provocative one, implicitly drawing on the philosophies of the moving image and the recent work on new forms of post-human perceptual realism.

This edited collection is divided into the following four themed sections. Section One, It’s Always Been Real: Contemporising Virtual Production, addresses the histories of film realism in relationship to visual technologies, providing both a theoretical and philosophical ‘anchor’ point for the collection, and a necessary genealogy. Section Two, The Body Becomes You: Performing Virtual Production, examines the transformation that occurs in immersive virtual worlds, while also exploring how the body is itself virtualised. Section Three, Skin Deep: Gazing with Virtual Production, addresses the way race, ethnicity, gender and environment are supposedly equalised, and yet are still found to reproduce the colonised looking regimes of western, mainstream screen culture. Section Four, Whose Work? Labouring with Virtual Production, draws together writing that examines the way production processes have been transformed, affecting not only work patterns but also the way aesthetics, form and function, operate.

This book encompasses many production themes and will appeal to media students and professionals interested in the production of film.

Chapter 11 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC BY-NC-ND)] 4.0 license.

This book is the first dedicated edited collection that explores the virtualisation of screen-making processes from pre-production to post-production, while attuning to the aesthetic, ideological and performative contexts upended by these integrated technologies. This book explores what is real in virtual production, as a provocative one, implicitly drawing on the philosophies of the moving image and the recent work on new forms of post-human perceptual realism.

This edited collection is divided into the following four themed sections. Section One, It’s Always Been Real: Contemporising Virtual Production, addresses the histories of film realism in relationship to visual technologies, providing both a theoretical and philosophical ‘anchor’ point for the collection, and a necessary genealogy. Section Two, The Body Becomes You: Performing Virtual Production, examines the transformation that occurs in immersive virtual worlds, while also exploring how the body is itself virtualised. Section Three, Skin Deep: Gazing with Virtual Production, addresses the way race, ethnicity, gender and environment are supposedly equalised, and yet are still found to reproduce the colonised looking regimes of western, mainstream screen culture. Section Four, Whose Work? Labouring with Virtual Production, draws together writing that examines the way production processes have been transformed, affecting not only work patterns but also the way aesthetics, form and function, operate.

This book encompasses many production themes and will appeal to media students and professionals interested in the production of film.

Chapter 11 of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons [Attribution-Non Commercial-No Derivatives (CC BY-NC-ND)] 4.0 license.

Radical Mainstream examines independent film and video cultures in Britain from the mid-1970s to the late 1980s in the context of struggles against capitalism, patriarchy, racism, colonialism and homophobia, examining relations between counterpublics and social change. The book considers this period in order to examine the capacity for radical discourse to affect dominant cultural media forms, arguing that independent film- and video-makers helped transform television into a vital site of counterpublic discourse.

The end of the twentieth century saw the development of new social models of film and video production and exhibition alongside the formation of new alliances to campaign for changes to social practice, policy and legislature. Radical Mainstream explores the interrelation between public debate, institutions and individuals, arguing that independent film and video in Britain at this time – including activist documentary, currents of counter-cinema, avant-garde film and video art – were largely concerned with creating and circulating counterpublic discourses. The book traces the diversity of the influences on independent film and video, from socialist and liberation movements to popular radical histories and psychoanalytic and Marxist film theory. The account provides a historic backdrop to contemporary documentary and moving image work, and illuminates the heritage of critical thinking within such practices.