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Painting Machinima in Second Life: Emerging Aesthetics in Virtual Filmmaking

Painting Machinima in Second Life: Emerging Aesthetics in Virtual Filmmaking

Phylis Johnson
Copyright: © 2015 |Pages: 31
ISBN13: 9781466683846|ISBN10: 1466683848|EISBN13: 9781466683853
DOI: 10.4018/978-1-4666-8384-6.ch002
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MLA

Johnson, Phylis. "Painting Machinima in Second Life: Emerging Aesthetics in Virtual Filmmaking." New Opportunities for Artistic Practice in Virtual Worlds, edited by Denise Doyle, IGI Global, 2015, pp. 23-53. https://doi.org/10.4018/978-1-4666-8384-6.ch002

APA

Johnson, P. (2015). Painting Machinima in Second Life: Emerging Aesthetics in Virtual Filmmaking. In D. Doyle (Ed.), New Opportunities for Artistic Practice in Virtual Worlds (pp. 23-53). IGI Global. https://doi.org/10.4018/978-1-4666-8384-6.ch002

Chicago

Johnson, Phylis. "Painting Machinima in Second Life: Emerging Aesthetics in Virtual Filmmaking." In New Opportunities for Artistic Practice in Virtual Worlds, edited by Denise Doyle, 23-53. Hershey, PA: IGI Global, 2015. https://doi.org/10.4018/978-1-4666-8384-6.ch002

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Abstract

This chapter explores the technological and artistic revolution brought forth by machinima, particularly the rise among a community of filmmakers who would begin to express their stories and ideas through virtual worlds. Machinima has led to an emergence of scholarship on its aesthetics and cultural implications for digital society. The case of machinima as art is illustrated through a review of select works of virtual world filmmakers. This discussion also distinguishes the machinima concepts of game, virtual platform and more specifically virtual worlds to their varying degrees and relationships. It is here that one delineates the purpose of machinima within Massively Multiplayer Online Role-Playing Games (MMORPG) to that of virtual worlds such as Second Life (SL). In doing so, the author follows the innovation of machinima through the evolution of gaming and its extension to stand-alone ready-to-wear software to potentialities called forth by British filmmaker Peter Greenaway regarding Second Life.

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