Theory in a Digital Age: A Project of English 483 Students, Coastal Carolina UniversityMain MenuTheory in a Digital AgeRemediationThis chapter will showcase how the remaking of art can leave its impact.Cornel West and Black Lives MatterMacKenzie McKeithan-PrickettDetermination in GamingThe Mind Set and ExperienceThe Hope for a Monstrous World Without GenderIntroduction to "A Cyborg Manifesto" and ThesisFreud's Uncanny Double: A Theoretical Study of the Portrayal of Doubles in FilmThis chapter of the book will look at the history of the theme of the "double" using Freud's Uncanny as the theoretical insight of the self perception of the double in film/cinema.From Literacy to Electracy: Resistant Rhetorical Bodies in Digital SpacesAshley Canter"Eddy and Edith": Online Identities vs. Offline IdentitiesA fictional story about online identities and offline identities. (Also a mash-up video between Eddy and Edith and Break Free.)“Pieces of Herself”: Key Signifiers and Their ConnotationsIs the Sonographic Fetus a Cyborg?How sonographic technology initiates gendered socializationPost-Capitalism: Rise of the Digital LaborerParadox of RaceDr. Cornel West, W.E.B Du Bois, and Natasha TretheweySleep Dealer - Digital LaborBy Melissa HarbyThe Kevin Spacey Effect: Video Games as an Art Form, the Virtual Uncanny, and the SimulacrumThe Twilight Zone in the Uncanny ValleyIntroductionThe Virtual Economy and The Dark WebHow Our Economy is Changing Behind the ScenesTransgender Representation and Acceptance in the MainstreamHow the trans* movement has caused and exemplifies the spectralization of genderA Voice for the Humanities in A Divided AmericaDr. Cornel West on the indifference in our society and how he thinks the humanities can help heal itReading Between the Lines: Diversity and Empowerment in ComicsJen Boyle54753b17178fb39025a916cc07e3cb6dd7dbaa99
1media/digital kevin spacey.jpg2016-12-01T07:21:00-08:00The Kevin Spacey Effect: Video Games as an Art Form, the Virtual Uncanny, and the Simulacrum28plain2016-12-15T14:53:36-08:00 The graphic presentation of video games is advancing at a rapid rate, in which it is becoming difficult to distinguish real world cinematic techniques versus digital manufacturing and coding. Film, as a medium, has molded itself into blockbuster video games, creating interactive stories that transcend the Hollywood standard. The annual Call of Duty franchise has released every year since 2005 and continues to push the boundaries of graphic fidelity. Known for including top-name Hollywood actors among the likes of Ron Perlman, Jimmy Kimmel, and Jeff Goldblum, to name a few, they only represented the voice behind the character. That is, until 2014’s entry, Advanced Warfare, where Kevin Spacey appeared as a literal, digital version of himself; the first of the series to include a convincing replica. Despite the millions of players that purchase the product every year, the game does have its fair share of criticism for its derivative gameplay, but there’s no denying the fact that gamers and non-gamers alike were astonished to see a video game character resemble a popular actor when the reveal trailer dropped on social media outlets and television. Judging from archived Twitter posts upon the release of the trailer, reactions were positive. (Co.Create) With the help of successful marketing and theories of the uncanny, the simulacrum, and the cartoon, from Sigmund Freud, Jean Baudrillard, and Scott McCloud, it becomes apparent as to how the reveal was so successful and puts into question where our video games will ascend to eventually blur the lines between the physical and virtual world.