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Shane Denson

Shane Denson

Associate Professor of Film & Media Studies and, by Courtesy, of German Studies
Film and Media Studies


Shane Denson is Associate Professor of Film and Media Studies in the Department of Art & Art History and, by Courtesy, of German Studies in the Division of Literatures, Cultures, and Languages at Stanford University. His research and teaching interests span a variety of media and historical periods, including phenomenological and media-philosophical approaches to film, digital media, comics, games, and serialized popular forms. He is the author of Postnaturalism: Frankenstein, Film, and the Anthropotechnical Interface (Transcript-Verlag/Columbia University Press, 2014) and co-editor of several collections: Transnational Perspectives on Graphic Narratives (Bloomsbury, 2013), Digital Seriality (special issue of Eludamos: Journal for Computer Game Culture, 2014), and the open-access book Post-Cinema: Theorizing 21st-Century Film (REFRAME Books, 2016).

His most recent book, Discorrelated Images, was published in 2020 by Duke University Press. Discorrelated Images explores the transitional spacetime between cinema and post-cinema. More precisely, it probes the transformational temporal and spatial articulations of contemporary moving images and our perceptual, actional, and affective interfaces with them as they migrate from conventional forms of cinema and enter the computational systems that now encompass every aspect of audiovisual mediation. While the generation, composition, distribution, and playback of images increasingly become a matter of algorithms, software, networks, and codecs, our sensory ratios (as McLuhan called them) are being reordered, our perceptual faculties are being reformed (or re-formed) in accordance with the new speeds and scales of imaging processes. In a post-cinematic media regime, that is, both the subjects and the objects of perception are radically transformed. Older relations—such as that between a human subject and a photographically fixed object—are dissolving, and new relations are being forged in the microtemporal intervals of algorithmic processing. With the new objects of computational images emerge new subjectivities, new affects, and uncertain potentials for perception and action.

Prof. Denson also serves as faculty coordinator for the Geballe Research Workshop "Digital Aesthetics: Critical Approaches to Computational Culture" at the Stanford Humanities Center. From IBM punch cards to digital census forms, from ASCII art to Oculus Rift, how do we think and feel on screens and online, on disk or in the cloud, at the keyboard or off-the-grid? How do digital objects and code blur boundaries between text, image, and performativeacts? How do they challenge our understanding of the distinctions between a medium and its content? This workshop hosts conversations about material culture studies, performance theory, technology history, and aesthetics to explore a partnership between engineering and the humanities by bringing technological objects into critical humanities research and introducing new vocabularies into discussions of the design and production of our digital future.

For more information about Prof. Denson's research and teaching, see

Selected Courses taught at Stanford:

Aesthetics & Phenomenology

Currents in Media Theory

Introduction to Media


Media Technology Theory

How to Watch TV

Digital and Interactive Media

Game Studies

Critical Making

The Video Essay



October 10, 2018

Free and open to the public

Oshman Hall, McMurtry Building
October 17, 2017

Free and open to the public!

Cubberley Auditorium


January 6, 2022 to January 27, 2022
McMurtry Ground Floor Crit Space
September 26, 2018 to October 26, 2018
Dr Sidney & Iris Miller Discussion Space
January 12, 2018 to January 26, 2018
Gunn Foyer, McMurtry Building
May 1, 2017 to May 12, 2017
Gunn Foyer