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We are an international network and community of scholars researching and teaching on the topic of visual effects. We embrace diverse, high quality scholarship (research and practice based) on any aspect of visual effects, including historical and theoretical approaches, aesthetic analyses, industry and software studies, film philosophy, reception studies, animation studies, and more. If you are producing high quality research (written, visual, programmed or otherwise) and would like to have a profile on this site feel free to contact us.
We are an international network and community of scholars researching and teaching on the topic of visual effects. We embrace diverse, high quality scholarship (research and practice based) on any aspect of visual effects, including historical and theoretical approaches, aesthetic analyses, industry and software studies, film philosophy, reception studies, animation studies, and more. If you are producing high quality research (written, visual, programmed or otherwise) and would like to have a profile on this site feel free to contact us.
We are an international network and community of scholars researching and teaching on the topic of visual effects. We embrace diverse, high quality scholarship (research and practice based) on any aspect of visual effects, including historical and theoretical approaches, aesthetic analyses, industry and software studies, film philosophy, reception studies, animation studies, and more. If you are producing high quality research (written, visual, programmed or otherwise) and would like to have a profile on this site feel free to contact us.
We are an international network and community of scholars researching and teaching on the topic of visual effects. We embrace diverse, high quality scholarship (research and practice based) on any aspect of visual effects, including historical and theoretical approaches, aesthetic analyses, industry and software studies, film philosophy, reception studies, animation studies, and more. If you are producing high quality research (written, visual, programmed or otherwise) and would like to have a profile on this site feel free to contact us.
We are an international network and community of scholars researching and teaching on the topic of visual effects. We embrace diverse, high quality scholarship (research and practice based) on any aspect of visual effects, including historical and theoretical approaches, aesthetic analyses, industry and software studies, film philosophy, reception studies, animation studies, and more. If you are producing high quality research (written, visual, programmed or otherwise) and would like to have a profile on this site feel free to contact us.
We are an international network and community of scholars researching and teaching on the topic of visual effects. We embrace diverse, high quality scholarship (research and practice based) on any aspect of visual effects, including historical and theoretical approaches, aesthetic analyses, industry and software studies, film philosophy, reception studies, animation studies, and more. If you are producing high quality research (written, visual, programmed or otherwise) and would like to have a profile on this site feel free to contact us.
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Jenna Ng
About
Jenna Ng is Senior Lecturer in Film and Interactive Media at the University of York, UK. She is the editor of Understanding Machinima: essays on filmmaking in virtual worlds (Bloomsbury, 2013) and the author of The Post-Screen Through Virtual Reality, Holograms and Projection Mapping: Where Screen Boundaries Lie (Amsterdam University Press, 2021). She publishes mainly on digital and visual culture, but also has research interests in interactive storytelling, the philosophy of technology, the posthuman, computational culture, and the digital humanities.
Areas of Focus
History of VFX, VFX and Philosophy of the Image, VFX and Performance, Digital culture and VFX
Relevant Publications
The Post-Screen Through Virtual Reality, Holograms and Light Projections: Where Screen Boundaries Lie
She Crawls Out of the TV, or, On the Gendered Screen
You have all the weapons you need’ – Sucker Punch and the Multiform Gaze
Surface, Display, Life: Re-thinking the Screen from Projection to Video Mapping
Seeing Movement: On Performance Capture Imagery and James Cameron’s Avatar
A Point of Light: Epiphanic Cinephilia in Mamoru Oshii’s Avalon
Virtual Cinematography and the Digital Real: (Dis)placing the Moving Image Between Reality and Simulacra
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