James Clarke – författare

SHORTLISTED FOR PEOPLE''S BOOK PRIZE

This is an essential guide to the evolving and dynamic world of digital media.

Explains how the media lab as a place (actual or virtual) encourages, nurtures and provides tangible support for creative talents and their projects.

While the focus of the book is on filmmaking and gaming, the author also delves into the ‘brave new worlds’ of Virtual Reality and Augmented Reality.

Providing an overview of the range of media labs on offer in both academia and festivals, the book is enriched by interviews with contemporary practitioners working in digital media culture around the world.

Reviews

“... an inspirational and timely new resource, packed with contacts, leading edge initiatives, tips from seasoned media practitioners …. It can’t fail to help you get new creative content made, and seen, around the world.”– Nic Millington, CEO Rural Media

“With digital technologies and the blurring of creative boundaries changing the way that content is made and seen, this book proves an invaluable guide for those looking to successfully navigate this constantly evolving landscape.” – Nikki Baughan, Film Industry Journalist

About the author

James Clarke has written for the magazines 3D Artist, 3DWorld, Moviescope and Empire. His work has also featured in The Guardian, on BBC Radio 3 and for the BFI. As an educator he is a Fellow of the Higher Education Academy and has taught at the University of Gloucestershire, Hereford College of Arts and the University of Warwick. James is currently a Visiting Lecturer at the London Film School.  James’s books include the recently published Through Her Lens: The Stories Behind the Photography of Eva Sereny (ACC Books), The Year of the Geek (Aurum Press) and Bodies in Heroic Motion: The Cinema of James Cameron (Columbia University Press). James also writes A Level Film Studies resources for Edusites and has been a consultant to the British Council, writing and producing content on the subject of various literary icons.

Ninety percent of the world’s megafauna (its larger creatures) have disappeared since humans migrated from Africa and fanned out across the rest of the world. Within a very short time the megafauna – mammoths, mastodons, woolly rhinoceros and the huge carnivores that preyed upon them were extinct. Only Africa seems to have escaped: not unscathed, but not entirely vanquished either. This book describes the history and extent of human impact on the world's wildlife (marine included), good and bad; it examines, in particular, the status of wildlife in Africa – the world’s lastgreat megafaunal sanctuary; and it questions whether Africa’s wildlife has reached its lowest ebb, and whether it is about to witness the turn of the tide? The author sounds a note of cautious optimism: conservation initiatives have gained a new urgency in the 21st century, and in Africa and elsewhere are showing increasing resolve to tackle poaching. Vast transfrontier parks, many still in development, have the potential to provide a sustainable habitat for the continent’s megafauna. If we can muster both local and international support, name and shame the rogue nations, and build a practical conservation model that does not conflict with human needs, then Africa’s wildlife can perhaps be saved.