The following article is prompted by Auckland Theatre Company's puff line for its 2026 season of Cabaret: One of the most iconic musicals of all time, Cabaret is bringing its divinely decadent and chillingly relevant dazzling production to Tāmaki Makaurau in 2026. 🎶! Chillingly relevant?! I asked, commenting on

The last lecture raises two questions. One of them I hope to have made at least a partial answer to by the end of this lecture. One of them will be left more or less open.  The question of the assassination by visual effects, CGI, of film: sounds criminal. But

VFX is the art of contingency. We have been considering the time of contingency.  For the mise-en-scѐne time is the condition of a character’s embeddedness in a time of contingency, where anything can happen, which, for us the viewer, is the time of historicity. Our first concept.  We look

With gaming it feels like we take a step back... from the multimodality John A. Bateman attributes to digital media. Bateman’s research engages multimodality in representation. We are interested in multimodality in expression. So our definitions, in particular our definition of what constitutes a mode, differ.  Bateman finds the

We started our story of modulation, how a mode of form becomes what it is, with the example of the Lumière brothers’ Le repas de bébé. Part, perhaps not the most important part of the programme of cinema, motion writing, shown on 28 December 1895 at the Salon Indien, Grand

I want to do two things here.  I want to ask what drives narrative?  And I want to bring in this idea of modulation.  What is it? And what is it that it is our topic today?  I have some idea. I have some idea that the two questions are