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By Angela Ndalianis

The artists of the seventeenth-century baroque interval used spectacle to pride and astonish; modern leisure media, based on Angela Ndalianis, are imbued with a neo-baroque aesthetic that's equally brilliant. In Neo-Baroque Aesthetics and modern leisure, she situates latest movie, desktop video games, comedian books, and theme-park sights inside an aesthetic-historical context and makes use of the baroque as a framework to counterpoint our realizing of up to date leisure media.The neo-baroque aesthetics that Ndalianis analyzes should not, she argues, a case of paintings background repeating or imitating itself; those kinds have emerged due to contemporary technological and financial differences. The neo-baroque types mix sight and sound and textual content in ways in which parallel such seventeenth-century baroque types as magic lanterns, automata, portray, sculpture, and theater yet use new know-how to specific the troubles of the past due 20th and early twenty-first century. relocating easily from century to century, evaluating ceiling work to the pc online game Doom, a Spiderman subject matter park experience to the baroque model of multimedia often called the Bel Composto, and a Medici marriage ceremony to Terminator 2:3D, the booklet demonstrates the good judgment of media histories. Ndalianis makes a speciality of the complicated interrelationships between leisure media and offers a rigorous cross-genre, cross-historical research of media aesthetics.

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More recently, however, 33 34 Chapter 1 the distinctions between them have progressively blurred, highlighting a neo-baroque polycentrism. Globalization, Seriality, and Entertainment Media Currently we are immersed in an information age that Jim Collins observes is characterized by new forms of ‘‘techno-textuality’’ (1995, 6). As will be argued further in chapters 2 and 3, this techno-textuality has resulted in new forms of textuality and audience reception; from the perspective of seriality, however, it is driven by technologies that highlight the reproducible nature of the neo-baroque.

Today, film production is only one component of the economic drive of the conglomerates that dominate the contemporary entertainment industry. The contemporary entertainment aesthetics that emerge from this drive support an industry that has multiple investment interests. In turn, the serial structure that manifests itself in entertainment narratives is supported by an economic infrastructure that has similarly expanded and adjusted its boundaries. 8 Since the 1980s, however, the transnational effects of globalization have expanded the film industry’s economic interests, shifting economic concerns to the global market (Wasko 1994, 6).

Alien Resurrection finds a solution to Ripley’s demise. Cell remnants from Ripley’s dead body are used to clone a new Ripley, who, as a result of her earlier Alien impregnation, has taken on characteristics of the Aliens. In the course of the film, it is revealed that Ripley has ‘‘mothered’’ an Alien child (who has grown into an Alien mother) who, in turn, has also provided Ripley with an Alien-human hybrid grandchild. Despite the implied closure with which each of the first three films ends, the sequel that follows opens up the ‘‘Alien’’ narrative premise by exploring alternative story dimensions.

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