By Frank Rose
Now not in the past we have been spectators, passive shoppers of mass media. Now, on YouTube and blogs and fb and Twitter, we are media. now not content material in our conventional position as sofa potatoes, we process tv exhibits, video clips, even advertisements as invites to participate—as reviews to immerse ourselves in at will. Frank Rose introduces us to the folks who're reshaping media for a two-way global, altering how we play, how we converse, and the way we expect.
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Extra info for The Art of Immersion: How the Digital Generation Is Remaking Hollywood, Madison Avenue, and the Way We Tell Stories
Barthes argued that all literary and cultural history was really a history of signs. Beginning in 1947 until his death in 1980, his criticism moved gracefully from discussing Flaubert’s écriture, to the New Novel, to images from Sergei Eisenstein’s Ivan the Terrible, to the excessive qualities of the 1950s Citroën automobile, and back to the codes at work in Balzac. His object of study was the entire cultural world that literary theory opened up for structural, semiotic, and eventually poststructural analysis (as seen in his The Pleasure of the Text).
First was the publishing industry, which, hoping to discover and market youthful writers, aggressively pursued novelty. Editions de Minuit’s new director, Jerome Lindon, sought a niche market and hired young Alain Robbe-Grillet as his literary advisor. Born in 1922, Robbe-Grillet was nearly twenty years younger than Jean-Paul Sartre and the same age as filmmaker Alain Resnais. RobbeGrillet became a perfect choice for Lindon, since he brought fame and profit to Editions de Minuit, gradually becoming the most prominent of Lindon’s writers, publishing Les gommes (The Erasers), Le voyeur, and La jalousie, before following Marguerite Duras’s example from Hiroshima, mon amour and writing a script for Resnais, titled L’Année dernière à Marienbad (Last Year at Marienbad, 1961).
Just as specialized presses such as Editions de Minuit or Editions du Seuil were successfully marketing new novels and critics, the New Theater began in tiny Latin Quarter theaters in Paris, where low overhead decreased initial financial risks. Moreover, these small theaters, located near the Paris universities La Sorbonne, Jussieu, and Censier as well as tourist sites, proved there was a strong new audience made up of urban, educated young people—the same sort of audience that bought Robbe-Grillet novels and would frequent new films by young New Wave directors.