Acknowledgments  ix
Introduction  1
1. Heterotopic Media: Assembling the Global in Digital Cinema  37
2. Heterotopic Mapping: The Fall and Ashes of Time Redux  45
3. Heterotopic Modularity: Avatar, Oblivion, and Interstellar 75
4. Heterotopic Monstrosity: The Host and Godzilla  105
5. Heterotopic Materiality: The World and Big Hero 6  141
Conclusion: The Seams of (Post)Digital Media Heterotopias  177
Notes  185
Bibliography  209
Index  219

"Chung’s 'media heterotopias' could be of immense use as a strategic motivator of more work that is oriented toward activist, political stakes in the spatiotemporal mappings of yet unfolding digital age ecologies." — Amy R. Wong, ASAP/Journal

"Chung’s 'media heterotopias' could be of immense use as a strategic motivator of more work that is oriented toward activist, political stakes in the spatiotemporal mappings of yet unfolding digital age ecologies." —Amy R. Wong, ASAP/Journal

"Hye Jean Chung's ambitious and provocative project provides a multilevel account that synthesizes issues of disruptive digital ‘workflows,’ with Foucault's theory, and a prescient account of globalization in order to demonstrate how each works at the close-up level of the composited film text. This is the rare production studies book that avoids the traps of trade-speak, even as it makes theory and culture inextricable from our understanding of industry." — John T. Caldwell, author of, Production Culture: Industrial Reflexivity and Critical Practice in Film and Television

"Following Foucault's notion of 'heterotopia,'of topoi or even utopoi composed of multiple platforms layered and contested that are rendered into a single, phantasmatic whole, Hye Jean Chung proposes 'media heterotopias' as a way to understand the infusion of digital effects in contemporary cinema. At the heart of her analysis lies an affective paradox that transforms complexity, distortion, and incongruity in digital cinemas into the narcotic illusion of 'seamlessness.' At once erudite, rigorous, and highly speculative, Chung's contribution to the scholarship on digital cinemas suggests a frenzy of incoherence driving the soothing surfaces of digital effects and the labor that generates them." — Akira Mizuta Lippit, author of, Cinema without Reflection: Jacques Derrida’s Echopoiesis and Narcissism Adrift

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