MIT Graduate Program in Comparative Media Studies
Studying Media and Making Media
An honored tradition returns on April 27th at 7PM when CMS presents the eleventh annual Media Spectacle. The event, founded by Chris Pomiecko, celebrates his love for filmmaking by showcasing […]
Tucker Eskew explores the permanent campaign(s) of the last ten years. What is "message discipline" in an era of atomized opinion leadership -- a necessity or a fool's errand?
Comparative Media Studies and Project New Media Literacies will host a one-day conference at MIT, Building 6-120, from 8:30 am to 5 pm on Saturday May 2, 2009.
Ralph Baer on the continuum of invention, development, and marketing novel product ideas.
The second annual Julius Schwartz Lecture brings J. Michael Straczynski, the creator of the cult science fiction hit Babylon 5.
Ethan Gilsdorf will discuss some of the themes of his new book, Fantasy Freaks and Gaming Geeks: An Epic Quest for Reality Among Role Players, Online Gamers, and Other Dwellers of Imaginary Realms.
Hannah Rose Shell screens and discusses her film-in-progress, called Blind, about the phenomenology of camouflage.
The election of an African-American president in Nov. 2008 has been hailed as a transforming event. But has Obama's ascension transformed anything?
Elisa Kreisinger is a video remix artist, hacktivst and writer. She co-edits the blog, PoliticalRemixVideo.com.
Richard Rouse on the ways cinematic techniques can be used in gameplay to create even more stimulating experiences for gamers.
What are the benefits and dangers of a confusion between the private creativity and the public career elements of a writer's life?
Futures of Entertainment 4 once again brings together key industry leaders and academic scholars who are shaping these new directions in our culture.
Siva Vaidhyanathan asks, what are we really gaining and losing by inviting Google to be the lens through which we view the world?
Angela Ndalianis analyze how Las Vegas -- a city-as-monument to entertainment and leisure culture -- has appropriated tropes and modes of engagement taken from pre-20th Century high culture traditions of the Church and aristocracy.
Stephen Duncombe asks, does the traditional truth-revealing role of critical media practice still have any political relevance?
