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Marsha Kinder (born 1940) is a film scholar and Professor of Critical Studies at USC. She is credited with coining the term "transmedia" in 1991, calling entertainment franchises that use such a model "transmedia supersystems...() position consumers as powerful players while disavowing commercial manipulation.” Kinder began her career as a scholar of eighteenth-century English Literature before moving to the study of transmedial relations among various narrative art forms. From 1965 through 1980 she taught at Occidental College in the Dept. of English and Comparative Literature, and with her colleague William Moritz introduced film studies into their curriculum. In 1980 she joined USC as a Professor of Critical Studies in the School of Cinematic Arts where she taught until 2012 and where her specialties included Spanish cinema, narrative theory, children’s media culture, database documentaries, and digital culture. Kinder has published over one hundred essays and ten books (including monographs and anthologies). Titled "Antonioni in Transit," her first essay on ''Blow-up'' and its relationship to Antonioni's earlier films made in Italy, was published in the British film journal Sight & Sound in 1967. Her first two books, ''Close Up: A Critical Perspective on Film'' (1972) and ''Self and Cinema: A Transformalist Perspective'' (1980), were written in collaboration with Beverle Houston. She is best known for her works on Spanish cinema and culture, which include ''Blood Cinema: The Reconstruction of National Identity in Spain'' (1993), with a companion CD-ROM (the first interactive scholarly work in English language film studies), ''Refiguring Spain: Cinema, Media, Representation'' (1997), and ''Luis Bunuel’s The Discreet Charm of the Bourgeoisie'' (1998); and for her works on children’s media culture, including ''Playing with Power in Movies, Television and Video Games: From Muppet Babies to Teenage Mutant Ninja Turtles'' (1991), and ''Kids’ Media Culture'' (1999). She was founding editor of innovative journals, such as ''Dreamworks'' (1980–87), winner of a Pushcart Award, and ''The Spectator'' (1982–present), and since 1977 has served on the editorial board of ''Film Quarterly''. In 1995 she received the USC Associates Award for Creativity in Scholarship, and in 2001 was named a University Professor for her innovative interdisciplinary research. In 1997 Kinder founded The Labyrinth Project at USC, a research initiative on database narrative (a concept she introduced). At Labyrinth she produced database documentaries, archival cultural histories and other new models of digital scholarship in collaboration with media artists, filmmakers, writers, scholars, scientists, archivists, and cultural institutions. Combining cultural history and theory with the sensory language of the cinematic arts, these database documentaries are presented as transmedia networks (museum installations, DVD-ROMs, digital archives, on-line courseware, print catalogues, books). One of her first projects was with filmmaker Nina Menkes, entitled THE CRAZY BLOODY FEMALE CENTER. Menkes was unhappy that Kinder took liberties with her work, for example, adding shots to her work without her permission. Menkes's CD Rom premiered at the Sundance Film Festival. Many have been featured at museums, film and new media festivals, and conferences worldwide and have won prestigious awards, including the New Media Invision Award for best design, the British Academy Award for best interactive project in the learning category, and the Jury Award at Sundance for New Narrative Forms. Three Labyrinth projects were featured in ZKM’s “Future Cinema” exhibition in Germany in 2002: Tracing the Decay of Fiction: Encounters with a Film by Pat O’Neill (2002), Bleeding Through Layers of Los Angeles, 1920 – 1986 (2002), and The Danube Exodus: The Rippling Currents of the River (2002) an installation made in collaboration with Hungarian artist Peter Forgács, which premiered at the Getty Center in 2002 and is still touring worldwide. Others projects have focused on science and health education: Three Winters in the Sun: Einstein in California (2005), which was exhibited at the Skirball Cultural Center in Los Angeles, and A Tale of Two MAO Genes: Exploring the Biology and Culture of Aggression and Anxiety, a project produced in collaboration with noted molecular biologist Prof. Jean Chen Shih. Labyrinth’s most recent work is Jewish Homegrown History: Immigration, Identity and Intermarriage, which is a presented both as an on-line archive where users can upload stories and images of their family and a museum installation featuring large-scale projections of home movies. This installation had its premiere run at the Skirball Cultural Center in Los Angeles (March 29 – Sept. 2, 2012). Kinder is also a co-investigator with Mark Jonathan Harris on Interacting with Autism, a translational health-education website. These projects have been supported by grants from the Annenberg, Casden, Ford, Getty, Haas, Irvine, NEH, Righteous Persons, Rockefeller, and Skirball Foundations and from AHRQ (The Agency for Health Research Quality). ==References== 〔 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Marsha Kinder」の詳細全文を読む スポンサード リンク
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