{"id":182,"date":"2024-03-30T15:52:43","date_gmt":"2024-03-30T13:52:43","guid":{"rendered":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/?page_id=182"},"modified":"2026-03-31T10:01:43","modified_gmt":"2026-03-31T08:01:43","slug":"","status":"publish","type":"page","link":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/conducatori\/cinematografie-si-media\/rodica-mocan\/","title":{"rendered":"","raw":""},"content":{"rendered":"\n

Professor
Rodica MOCAN, Phd<\/h2>\n\n\n\n

rodica.mocan@ubbcluj.ro<\/p>\n\n\n\n

habilitation : 4308 \/ 08.08.2018<\/p>\n\n\n\n

Phd. students in internship: 4<\/p>\n\n\n\n

CV<\/a> SHORT<\/a><\/p>\n\n\n\n

CV FULL<\/a><\/p>\n\n\n\n

Links to academic profiles:<\/p>\n\n\n\n

Google Scholar:<\/p>\n\n\n\n

https:\/\/scholar.google.com\/citations?user=mULYhTYAAAAJ&hl=en<\/a><\/p>\n\n\n\n

Academia.edu<\/p>\n\n\n\n

https:\/\/ubbcluj.academia.edu\/rodicamocan<\/a><\/p>\n\n\n\n

ORCID<\/p>\n\n\n\n

https:\/\/orcid.org\/0000-0003-1633-4091<\/a><\/p>\n\n\n\n

CNATDCU STANDARD FULFILMENT<\/strong><\/mark><\/a><\/p>\n\n\n\n

\n\n\n\n
\"\"<\/figure>
\n

Rodica Mocan<\/strong> is a university professor at the Department of Cinematography and Media, specializing in digital media and new media arts. She holds a Ph.D. in Sociology (2005), with a focus on new e-learning methods, and a Ph.D. in Theatre and Performing Arts (2016), focusing on interactive performances and digital art. She obtained accreditation in the field of Cinematography and Media and is a member of the Doctoral School of Theatre and Film.<\/p>\n\n\n\n

Her current research interests are focused on the impact of digital technologies on various aspects of life, particularly in the field of interactive digital arts and emerging artistic genres that utilize new technologies. Her publications include “eLearning \u2013 A Sociological Perspective” (Risoprint, 2007), “Emerging Media Genres \u2013 New Media Documentary” (Risoprint, 2013), and “Critical Paradigms in Interactive Digital Performance” (Cluj University Press, 2017), as well as other academic articles.<\/p>\n\n\n\n

SYLLABUS – NEW ARTS IN THE DIGITAL AGE (RO)<\/a><\/p>\n<\/div><\/div>\n\n\n\n

\n\n\n\n

Doctoral research topics for admission<\/strong><\/h3>\n\n\n\n
\n\n\n
Critical paradigms in digital interactive performance<\/span><\/summary>
\n\n

Carlson, Marvin. 1996. Performance\u202f: A Critical Introduction<\/em>. Routledge. https:\/\/books.google.ro\/books\/about\/Performance.<\/p>\n\n\n\n

Chapple, Freda., and Chiel Kattenbelt. 2006. Intermediality in Theatre and Performance<\/em>. Rodopi.<\/p>\n\n\n\n

Chazichristodoulou, Maria. 2014. \u201cCyberformance? Digital or Networked Performance? Cybertheaters? Virtual Theaters?… Or All of the Above.\u201d In CyPosium – The Book<\/em>, edited by Annie Abrahams and Helen Varley Jamieson, 19\u201330. Brescia: Link Editions.<\/p>\n\n\n\n

Dixon, Steve. 2007. Digital Performance. A History of New Media in Theater, Dance, Performance Art, and Installation<\/em>. E-book Kin. Cambrdige, Massachusetts and London: MIT Press.<\/p>\n\n\n\n

Doyle, Denise. 2015. \u201cOut of This World: Exploring Embodiment and Space through Artistic Processes and Practice.\u201d International Journal of Performance Arts and Digital Media<\/em> 11 (1): 1\u201317.<\/p>\n\n\n\n

Moles, Abraham. n.d. \u201cTheoretical Analysis of the Intermedia Art Form.\u201d Buenos Aires<\/p>\n\n\n\n

Pavel, Laura. 2015. \u201cAesthetic Negotiations of Identity \u2013 Between Embodied and Disembodied Performance.\u201d EKPHRASIS. Images, Cinema, Theater. Media<\/em> 1 (Creative Boycott): 80\u201390. Pelias, Ronald J., and James van Oosting. 2004. \u201cA Paradigm for Performance Studies.\u201d In Performance. Critical Concepts in Literary and Cultural Studies<\/em>, edited by Philip Auslander, 2003rd ed., 73:219\u201331.<\/p>\n\n<\/div><\/details><\/div>\n\n

New Media Arts<\/span><\/summary>
\n\n

<\/p>\n\n<\/div><\/details><\/div>\n\n

Art and science in interactive documentary<\/span><\/summary>
\n\n

Andreas Kirkinis. n.d. \u201cHow Interactive Storytelling Is Shaping the Future of Cinema – Little White Lies.\u201d<\/p>\n\n\n\n

Aston, Judith., Gaudenzzi Sandra, and Mandy Rose. 2017. I-Docs – The Evolving Practices of Interactive Documentary<\/em>. Edited by Judith Aston, Sandra Gaudenzi, and Mandy Rose. New York Chichester, West Sussex: Columbia University Press.<\/p>\n\n\n\n

Atkinson, Sarah, and Helen Kennedy. 2016. \u201cIntroduction \u2013 Inside-the-Scenes: The Rise of Experiential Cinema.\u201d Journal of Audience & Reception Studies<\/em> 13 (1): 139\u201351.<\/p>\n\n\n\n

Barbosa, Sarah Tavares. 2016. \u201cFrom Cinema to Virtual Reality – A Phenomenological Approach to the Experience of Immersive Documentaries.\u201d Maastricht University.<\/p>\n\n\n\n

Bucher, John K. n.d. Storytelling for Virtual Reality\u202f: Methods and Principles for Crafting Immersive Narratives<\/em>. Accessed October 15, 2019.<\/p>\n\n\n\n

Grabowski, By Michael. 2017. \u201cPerception and Poetics of VR Documentaries.\u201d In Being There – ZDOK<\/em>.<\/p>\n\n\n\n

Mischie, Ioana. 2022. Cinema Infinit \u2013 introducere \u00een Universul Transmedia<\/em>. UNATC Press. Bucure\u0219ti<\/p>\n\n\n\n

Nash, Kate. 2021. Interactive Documentary\u202f: Theory and Debate<\/em>. Routledge<\/p>\n\n\n\n

Uricchio, William. 2019. \u201c\u2018Mapping the Intersection of Two Cultures\u2019 Interactive Documentary and Digital Journalism.\u201d MIT Open Documentary Lab.<\/p>\n\n<\/div><\/details><\/div>\n\n

Poshumanism and transhumanism in contemporary art, theoretical and practical models.<\/span><\/summary>
<\/div><\/details><\/div>\n\n
Selected bibliography<\/span><\/summary>
\n\n

(Chapple and Kattenbelt 2006; Benford and Giannachi 2011; Carlson 1996; Chazichristodoulou 2014; Breder 1995; Pavel 2015; Moles, n.d.; Doyle 2015; Pelias and Oosting 2004; Dixon 2007; Nash 2021; Grabowski 2017; Barbosa 2016; Atkinson and Kennedy 2016; Andreas Kirkinis, n.d.; Uricchio 2019; Bucher, n.d.; Aston, Sandra, and Rose 2017)<\/p>\n\n\n\n

Andreas Kirkinis. n.d. \u201cHow Interactive Storytelling Is Shaping the Future of Cinema – Little White Lies.\u201d<\/p>\n\n\n\n

Aston, Judith., Gaudenzzi Sandra, and Mandy Rose. 2017. I-Docs – The Evolving Practices of Interactive Documentary<\/em>. Edited by Judith Aston, Sandra Gaudenzi, and Mandy Rose. New York Chichester, West Sussex: Columbia University Press.<\/p>\n\n\n\n

Atkinson, Sarah, and Helen Kennedy. 2016. \u201cIntroduction \u2013 Inside-the-Scenes: The Rise of Experiential Cinema.\u201d Journal of Audience & Reception Studies<\/em> 13 (1): 139\u201351.<\/p>\n\n\n\n

Barbosa, Sarah Tavares. 2016. \u201cFrom Cinema to Virtual Reality – A Phenomenological Approach to the Experience of Immersive Documentaries.\u201d Maastricht University.<\/p>\n\n\n\n

Benford, Steve., and Gabriella. Giannachi. 2011. Performing Mixed Reality<\/em>. MIT Press.<\/p>\n\n\n\n

Breder, Hans. 1995. \u201cIntermedia: Enacting the Liminal.\u201d Performing Arts Journal<\/em> 17 (2\/3): 112\u201320.<\/p>\n\n\n\n

Bucher, John K. n.d. Storytelling for Virtual Reality\u202f: Methods and Principles for Crafting Immersive Narratives<\/em>. Accessed October 15, 2019.<\/p>\n\n\n\n

Carlson, Marvin. 1996. Performance\u202f: A Critical Introduction<\/em>. Routledge. https:\/\/books.google.ro\/books\/about\/Performance.<\/p>\n\n\n\n

Chapple, Freda., and Chiel Kattenbelt. 2006. Intermediality in Theatre and Performance<\/em>. Rodopi.<\/p>\n\n\n\n

Chazichristodoulou, Maria. 2014. \u201cCyberformance? Digital or Networked Performance? Cybertheaters? Virtual Theaters?… Or All of the Above.\u201d In CyPosium – The Book<\/em>, edited by Annie Abrahams and Helen Varley Jamieson, 19\u201330. Brescia: Link Editions.<\/p>\n\n\n\n

Dixon, Steve. 2007. Digital Performance. A History of New Media in Theater, Dance, Performance Art, and Installation<\/em>. E-book Kin. Cambrdige, Massachusetts and London: MIT Press.<\/p>\n\n\n\n

Doyle, Denise. 2015. \u201cOut of This World: Exploring Embodiment and Space through Artistic Processes and Practice.\u201d International Journal of Performance Arts and Digital Media<\/em> 11 (1): 1\u201317.<\/p>\n\n\n\n

Grabowski, By Michael. 2017. \u201cPerception and Poetics of VR Documentaries.\u201d In Being There – ZDOK<\/em>.<\/p>\n\n\n\n

Moles, Abraham. n.d. \u201cTheoretical Analysis of the Intermedia Art Form.\u201d Buenos Aires.<\/p>\n\n\n\n

Nash, Kate. 2021. Interactive Documentary\u202f: Theory and Debate<\/em>. Routledge.<\/p>\n\n\n\n

Pavel, Laura. 2015. \u201cAesthetic Negotiations of Identity \u2013 Between Embodied and Disembodied Performance.\u201d EKPHRASIS. Images, Cinema, Theater. Media<\/em> 1 (Creative Boycott): 80\u201390.<\/p>\n\n\n\n

Pelias, Ronald J., and James van Oosting. 2004. \u201cA Paradigm for Performance Studies.\u201d In Performance. Critical Concepts in Literary and Cultural Studies<\/em>, edited by Philip Auslander, 2003rd ed., 73:219\u201331. Routledge.<\/p>\n\n\n\n

Uricchio, William. 2019. \u201c\u2018Mapping the Intersection of Two Cultures\u2019 Interactive Documentary and Digital Journalism.\u201d MIT Open Documentary Lab.<\/p>\n\n<\/div><\/details><\/div>","protected":false,"raw":"\n

Professor
Rodica MOCAN, Phd<\/h2>\n\n\n\n

rodica.mocan@ubbcluj.ro<\/p>\n\n\n\n

habilitation : 4308 \/ 08.08.2018<\/p>\n\n\n\n

Phd. students in internship: 4<\/p>\n\n\n\n

CV<\/a> SHORT<\/a><\/p>\n\n\n\n

CV FULL<\/a><\/p>\n\n\n\n

Links to academic profiles:<\/p>\n\n\n\n

Google Scholar:<\/p>\n\n\n\n

https:\/\/scholar.google.com\/citations?user=mULYhTYAAAAJ&hl=en<\/a><\/p>\n\n\n\n

Academia.edu<\/p>\n\n\n\n

https:\/\/ubbcluj.academia.edu\/rodicamocan<\/a><\/p>\n\n\n\n

ORCID<\/p>\n\n\n\n

https:\/\/orcid.org\/0000-0003-1633-4091<\/a><\/p>\n\n\n\n

CNATDCU STANDARD FULFILMENT<\/strong><\/mark><\/a><\/p>\n\n\n\n

\n\n\n\n
\"\"<\/figure>
\n

Rodica Mocan<\/strong> is a university professor at the Department of Cinematography and Media, specializing in digital media and new media arts. She holds a Ph.D. in Sociology (2005), with a focus on new e-learning methods, and a Ph.D. in Theatre and Performing Arts (2016), focusing on interactive performances and digital art. She obtained accreditation in the field of Cinematography and Media and is a member of the Doctoral School of Theatre and Film.<\/p>\n\n\n\n

Her current research interests are focused on the impact of digital technologies on various aspects of life, particularly in the field of interactive digital arts and emerging artistic genres that utilize new technologies. Her publications include \"eLearning \u2013 A Sociological Perspective\" (Risoprint, 2007), \"Emerging Media Genres \u2013 New Media Documentary\" (Risoprint, 2013), and \"Critical Paradigms in Interactive Digital Performance\" (Cluj University Press, 2017), as well as other academic articles.<\/p>\n\n\n\n

SYLLABUS - NEW ARTS IN THE DIGITAL AGE (RO)<\/a><\/p>\n<\/div><\/div>\n\n\n\n

\n\n\n\n

Doctoral research topics for admission<\/strong><\/h3>\n\n\n\n
\n\n\n\n\n

Carlson, Marvin. 1996. Performance\u202f: A Critical Introduction<\/em>. Routledge. https:\/\/books.google.ro\/books\/about\/Performance.<\/p>\n\n\n\n

Chapple, Freda., and Chiel Kattenbelt. 2006. Intermediality in Theatre and Performance<\/em>. Rodopi.<\/p>\n\n\n\n

Chazichristodoulou, Maria. 2014. \u201cCyberformance? Digital or Networked Performance? Cybertheaters? Virtual Theaters?... Or All of the Above.\u201d In CyPosium - The Book<\/em>, edited by Annie Abrahams and Helen Varley Jamieson, 19\u201330. Brescia: Link Editions.<\/p>\n\n\n\n

Dixon, Steve. 2007. Digital Performance. A History of New Media in Theater, Dance, Performance Art, and Installation<\/em>. E-book Kin. Cambrdige, Massachusetts and London: MIT Press.<\/p>\n\n\n\n

Doyle, Denise. 2015. \u201cOut of This World: Exploring Embodiment and Space through Artistic Processes and Practice.\u201d International Journal of Performance Arts and Digital Media<\/em> 11 (1): 1\u201317.<\/p>\n\n\n\n

Moles, Abraham. n.d. \u201cTheoretical Analysis of the Intermedia Art Form.\u201d Buenos Aires<\/p>\n\n\n\n

Pavel, Laura. 2015. \u201cAesthetic Negotiations of Identity \u2013 Between Embodied and Disembodied Performance.\u201d EKPHRASIS. Images, Cinema, Theater. Media<\/em> 1 (Creative Boycott): 80\u201390. Pelias, Ronald J., and James van Oosting. 2004. \u201cA Paradigm for Performance Studies.\u201d In Performance. Critical Concepts in Literary and Cultural Studies<\/em>, edited by Philip Auslander, 2003rd ed., 73:219\u201331.<\/p>\n\n\n\n\n\n

<\/p>\n\n\n\n\n\n

Andreas Kirkinis. n.d. \u201cHow Interactive Storytelling Is Shaping the Future of Cinema - Little White Lies.\u201d<\/p>\n\n\n\n

Aston, Judith., Gaudenzzi Sandra, and Mandy Rose. 2017. I-Docs - The Evolving Practices of Interactive Documentary<\/em>. Edited by Judith Aston, Sandra Gaudenzi, and Mandy Rose. New York Chichester, West Sussex: Columbia University Press.<\/p>\n\n\n\n

Atkinson, Sarah, and Helen Kennedy. 2016. \u201cIntroduction \u2013 Inside-the-Scenes: The Rise of Experiential Cinema.\u201d Journal of Audience & Reception Studies<\/em> 13 (1): 139\u201351.<\/p>\n\n\n\n

Barbosa, Sarah Tavares. 2016. \u201cFrom Cinema to Virtual Reality - A Phenomenological Approach to the Experience of Immersive Documentaries.\u201d Maastricht University.<\/p>\n\n\n\n

Bucher, John K. n.d. Storytelling for Virtual Reality\u202f: Methods and Principles for Crafting Immersive Narratives<\/em>. Accessed October 15, 2019.<\/p>\n\n\n\n

Grabowski, By Michael. 2017. \u201cPerception and Poetics of VR Documentaries.\u201d In Being There - ZDOK<\/em>.<\/p>\n\n\n\n

Mischie, Ioana. 2022. Cinema Infinit \u2013 introducere \u00een Universul Transmedia<\/em>. UNATC Press. Bucure\u0219ti<\/p>\n\n\n\n

Nash, Kate. 2021. Interactive Documentary\u202f: Theory and Debate<\/em>. Routledge<\/p>\n\n\n\n

Uricchio, William. 2019. \u201c\u2018Mapping the Intersection of Two Cultures\u2019 Interactive Documentary and Digital Journalism.\u201d MIT Open Documentary Lab.<\/p>\n\n\n\n\n\n\n\n

(Chapple and Kattenbelt 2006; Benford and Giannachi 2011; Carlson 1996; Chazichristodoulou 2014; Breder 1995; Pavel 2015; Moles, n.d.; Doyle 2015; Pelias and Oosting 2004; Dixon 2007; Nash 2021; Grabowski 2017; Barbosa 2016; Atkinson and Kennedy 2016; Andreas Kirkinis, n.d.; Uricchio 2019; Bucher, n.d.; Aston, Sandra, and Rose 2017)<\/p>\n\n\n\n

Andreas Kirkinis. n.d. \u201cHow Interactive Storytelling Is Shaping the Future of Cinema - Little White Lies.\u201d<\/p>\n\n\n\n

Aston, Judith., Gaudenzzi Sandra, and Mandy Rose. 2017. I-Docs - The Evolving Practices of Interactive Documentary<\/em>. Edited by Judith Aston, Sandra Gaudenzi, and Mandy Rose. New York Chichester, West Sussex: Columbia University Press.<\/p>\n\n\n\n

Atkinson, Sarah, and Helen Kennedy. 2016. \u201cIntroduction \u2013 Inside-the-Scenes: The Rise of Experiential Cinema.\u201d Journal of Audience & Reception Studies<\/em> 13 (1): 139\u201351.<\/p>\n\n\n\n

Barbosa, Sarah Tavares. 2016. \u201cFrom Cinema to Virtual Reality - A Phenomenological Approach to the Experience of Immersive Documentaries.\u201d Maastricht University.<\/p>\n\n\n\n

Benford, Steve., and Gabriella. Giannachi. 2011. Performing Mixed Reality<\/em>. MIT Press.<\/p>\n\n\n\n

Breder, Hans. 1995. \u201cIntermedia: Enacting the Liminal.\u201d Performing Arts Journal<\/em> 17 (2\/3): 112\u201320.<\/p>\n\n\n\n

Bucher, John K. n.d. Storytelling for Virtual Reality\u202f: Methods and Principles for Crafting Immersive Narratives<\/em>. Accessed October 15, 2019.<\/p>\n\n\n\n

Carlson, Marvin. 1996. Performance\u202f: A Critical Introduction<\/em>. Routledge. https:\/\/books.google.ro\/books\/about\/Performance.<\/p>\n\n\n\n

Chapple, Freda., and Chiel Kattenbelt. 2006. Intermediality in Theatre and Performance<\/em>. Rodopi.<\/p>\n\n\n\n

Chazichristodoulou, Maria. 2014. \u201cCyberformance? Digital or Networked Performance? Cybertheaters? Virtual Theaters?... Or All of the Above.\u201d In CyPosium - The Book<\/em>, edited by Annie Abrahams and Helen Varley Jamieson, 19\u201330. Brescia: Link Editions.<\/p>\n\n\n\n

Dixon, Steve. 2007. Digital Performance. A History of New Media in Theater, Dance, Performance Art, and Installation<\/em>. E-book Kin. Cambrdige, Massachusetts and London: MIT Press.<\/p>\n\n\n\n

Doyle, Denise. 2015. \u201cOut of This World: Exploring Embodiment and Space through Artistic Processes and Practice.\u201d International Journal of Performance Arts and Digital Media<\/em> 11 (1): 1\u201317.<\/p>\n\n\n\n

Grabowski, By Michael. 2017. \u201cPerception and Poetics of VR Documentaries.\u201d In Being There - ZDOK<\/em>.<\/p>\n\n\n\n

Moles, Abraham. n.d. \u201cTheoretical Analysis of the Intermedia Art Form.\u201d Buenos Aires.<\/p>\n\n\n\n

Nash, Kate. 2021. Interactive Documentary\u202f: Theory and Debate<\/em>. Routledge.<\/p>\n\n\n\n

Pavel, Laura. 2015. \u201cAesthetic Negotiations of Identity \u2013 Between Embodied and Disembodied Performance.\u201d EKPHRASIS. Images, Cinema, Theater. Media<\/em> 1 (Creative Boycott): 80\u201390.<\/p>\n\n\n\n

Pelias, Ronald J., and James van Oosting. 2004. \u201cA Paradigm for Performance Studies.\u201d In Performance. Critical Concepts in Literary and Cultural Studies<\/em>, edited by Philip Auslander, 2003rd ed., 73:219\u201331. Routledge.<\/p>\n\n\n\n

Uricchio, William. 2019. \u201c\u2018Mapping the Intersection of Two Cultures\u2019 Interactive Documentary and Digital Journalism.\u201d MIT Open Documentary Lab.<\/p>\n\n"},"excerpt":{"rendered":"","protected":false,"raw":""},"author":1,"featured_media":0,"parent":18,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"templates\/template-onecolumn.php","meta":{"_ro_post_content":"\n

Prof. univ. dr. habil.
Rodica MOCAN
<\/h2>\n\n\n\n

rodica.mocan@ubbcluj.ro<\/p>\n\n\n\n

dat\u0103 abilitare : 4308 \/ 08.08.2018<\/p>\n\n\n\n

doctoranzi \u00een stagiu: 4<\/p>\n\n\n\n

CV<\/a> SCURT<\/a><\/p>\n\n\n\n

CV DETALIAT<\/a><\/p>\n\n\n\n

Linkuri profile academice:<\/p>\n\n\n\n

Google Scholar<\/p>\n\n\n\n

https:\/\/scholar.google.com\/citations?user=mULYhTYAAAAJ&hl=en<\/a><\/p>\n\n\n\n

Academia.edu<\/p>\n\n\n\n

https:\/\/ubbcluj.academia.edu\/rodicamocan<\/a><\/p>\n\n\n\n

ORCID<\/p>\n\n\n\n

https:\/\/orcid.org\/0000-0003-1633-4091<\/a><\/p>\n\n\n\n

FI\u0218\u0102 STANDARDE CNATDCU (punctaje)<\/strong><\/mark><\/a><\/p>\n\n\n\n

\n\n\n\n
\"\"<\/figure>
\n

Rodica Mocan este profesor universitar la Universitatea Babe\u0219-Bolyai din Cluj-Napoca, cu specializare \u00een media digital\u0103 \u0219i noile arte media. \u00cen 2005 ob\u021bine titlul de Doctor \u00een Sociologie cu o cercetare asupra noilor metode de e-learning<\/em> iar \u00een 2016 Doctor \u00een Teatru \u0219i Artele Spectacolului cu o tem\u0103 legat\u0103 de performance<\/em>-uri interactive de art\u0103 digital\u0103. A ob\u021binut abilitarea \u00een domeniul Cinematografie \u0219i Media cu o tez\u0103 despre artele media digitale. <\/p>\n\n\n\n

Interesele sale actuale de cercetare sunt focalizate pe impactul tehnologiilor digitale asupra diferitelor aspecte ale vie\u021bii, \u00een special \u00een domeniul artelor digitale interactive \u0219i al genurilor artistice emergente. Publica\u021biile sale includ: eLearning \u2013 O perspectiv\u0103 sociologic\u0103 (Risoprint, 2007), Genuri emergente media \u2013 Documentarul New Media (Risoprint, 2013) \u0219i Paradigme critice \u00een performance-ul digital interactiv (Cluj University Press, 2017), precum \u0219i alte articole academice printre care From co-creator to Demiurg. A Theological and Philosophical Perspective on Transhumanist Art. A acreditat \u0219i coordoneaz\u0103 programul de master Digital Interactive Arts din cadrul Facult\u0103\u021bii de Teatru \u0219i Film, \u0219i coordoneaz\u0103 doctoranzi \u00een domeniul Cinematografie \u0219i Media.  <\/p>\n\n\n\n

Curs predat la \u0218coala Doctoral\u0103: Noile arte in epoca digital\u0103 <\/em><\/p>\n\n\n\n

FI\u0218A DISCIPLINEI<\/strong> NOILE ARTE \u00ceN EPOCA DIGITAL\u0102<\/strong><\/a><\/mark><\/p>\n<\/div><\/div>\n\n\n\n

\n\n\n\n

Tematic\u0103 \u0219i bibliografie pentru admitere<\/h3>\n\n\n\n\n

Carlson, Marvin. 1996. Performance\u202f: A Critical Introduction<\/em>. Routledge. https:\/\/books.google.ro\/books\/about\/Performance.<\/p>\n\n\n\n

Chapple, Freda., and Chiel Kattenbelt. 2006. Intermediality in Theatre and Performance<\/em>. Rodopi.<\/p>\n\n\n\n

Chazichristodoulou, Maria. 2014. \u201cCyberformance? Digital or Networked Performance? Cybertheaters? Virtual Theaters?... Or All of the Above.\u201d In CyPosium - The Book<\/em>, edited by Annie Abrahams and Helen Varley Jamieson, 19\u201330. Brescia: Link Editions.<\/p>\n\n\n\n

Dixon, Steve. 2007. Digital Performance. A History of New Media in Theater, Dance, Performance Art, and Installation<\/em>. E-book Kin. Cambrdige, Massachusetts and London: MIT Press.<\/p>\n\n\n\n

Doyle, Denise. 2015. \u201cOut of This World: Exploring Embodiment and Space through Artistic Processes and Practice.\u201d International Journal of Performance Arts and Digital Media<\/em> 11 (1): 1\u201317.<\/p>\n\n\n\n

Moles, Abraham. n.d. \u201cTheoretical Analysis of the Intermedia Art Form.\u201d Buenos Aires<\/p>\n\n\n\n

Pavel, Laura. 2015. \u201cAesthetic Negotiations of Identity \u2013 Between Embodied and Disembodied Performance.\u201d EKPHRASIS. Images, Cinema, Theater. Media<\/em> 1 (Creative Boycott): 80\u201390.<\/p>\n\n\n\n

Pelias, Ronald J., and James van Oosting. 2004. \u201cA Paradigm for Performance Studies.\u201d In Performance. Critical Concepts in Literary and Cultural Studies<\/em>, edited by Philip Auslander, 2003rd ed., 73:219\u201331. Routledge<\/p>\n\n\n\n\n\n\n

Andreas Kirkinis. n.d. \u201cHow Interactive Storytelling Is Shaping the Future of Cinema - Little White Lies.\u201d<\/p>\n\n\n\n

Aston, Judith., Gaudenzzi Sandra, and Mandy Rose. 2017. I-Docs - The Evolving Practices of Interactive Documentary<\/em>. Edited by Judith Aston, Sandra Gaudenzi, and Mandy Rose. New York Chichester, West Sussex: Columbia University Press.<\/p>\n\n\n\n

Atkinson, Sarah, and Helen Kennedy. 2016. \u201cIntroduction \u2013 Inside-the-Scenes: The Rise of Experiential Cinema.\u201d Journal of Audience & Reception Studies<\/em> 13 (1): 139\u201351.<\/p>\n\n\n\n

Barbosa, Sarah Tavares. 2016. \u201cFrom Cinema to Virtual Reality - A Phenomenological Approach to the Experience of Immersive Documentaries.\u201d Maastricht University.<\/p>\n\n\n\n

Bucher, John K. n.d. Storytelling for Virtual Reality\u202f: Methods and Principles for Crafting Immersive Narratives<\/em>. Accessed October 15, 2019.<\/p>\n\n\n\n

Grabowski, By Michael. 2017. \u201cPerception and Poetics of VR Documentaries.\u201d In Being There - ZDOK<\/em>.<\/p>\n\n\n\n

Mischie, Ioana. 2022. Cinema Infinit \u2013 introducere \u00een Universul Transmedia<\/em>. UNATC Press. Bucure\u0219ti<\/p>\n\n\n\n

Nash, Kate. 2021. Interactive Documentary\u202f: Theory and Debate<\/em>. Routledge<\/p>\n\n\n\n

Uricchio, William. 2019. \u201c\u2018Mapping the Intersection of Two Cultures\u2019 Interactive Documentary and Digital Journalism.\u201d MIT Open Documentary Lab.<\/p>\n\n\n\n\n\n\n\n

(Chapple and Kattenbelt 2006; Benford and Giannachi 2011; Carlson 1996; Chazichristodoulou 2014; Breder 1995; Pavel 2015; Moles, n.d.; Doyle 2015; Pelias and Oosting 2004; Dixon 2007; Nash 2021; Grabowski 2017; Barbosa 2016; Atkinson and Kennedy 2016; Andreas Kirkinis, n.d.; Uricchio 2019; Bucher, n.d.; Aston, Sandra, and Rose 2017)<\/p>\n\n\n\n

Andreas Kirkinis. n.d. \u201cHow Interactive Storytelling Is Shaping the Future of Cinema - Little White Lies.\u201d<\/p>\n\n\n\n

Aston, Judith., Gaudenzzi Sandra, and Mandy Rose. 2017. I-Docs - The Evolving Practices of Interactive Documentary<\/em>. Edited by Judith Aston, Sandra Gaudenzi, and Mandy Rose. New York Chichester, West Sussex: Columbia University Press.<\/p>\n\n\n\n

Atkinson, Sarah, and Helen Kennedy. 2016. \u201cIntroduction \u2013 Inside-the-Scenes: The Rise of Experiential Cinema.\u201d Journal of Audience & Reception Studies<\/em> 13 (1): 139\u201351.<\/p>\n\n\n\n

Barbosa, Sarah Tavares. 2016. \u201cFrom Cinema to Virtual Reality - A Phenomenological Approach to the Experience of Immersive Documentaries.\u201d Maastricht University.<\/p>\n\n\n\n

Benford, Steve., and Gabriella. Giannachi. 2011. Performing Mixed Reality<\/em>. MIT Press.<\/p>\n\n\n\n

Breder, Hans. 1995. \u201cIntermedia: Enacting the Liminal.\u201d Performing Arts Journal<\/em> 17 (2\/3): 112\u201320.<\/p>\n\n\n\n

Bucher, John K. n.d. Storytelling for Virtual Reality\u202f: Methods and Principles for Crafting Immersive Narratives<\/em>. Accessed October 15, 2019.<\/p>\n\n\n\n

Carlson, Marvin. 1996. Performance\u202f: A Critical Introduction<\/em>. Routledge. https:\/\/books.google.ro\/books\/about\/Performance.<\/p>\n\n\n\n

Chapple, Freda., and Chiel Kattenbelt. 2006. Intermediality in Theatre and Performance<\/em>. Rodopi.<\/p>\n\n\n\n

Chazichristodoulou, Maria. 2014. \u201cCyberformance? Digital or Networked Performance? Cybertheaters? Virtual Theaters?... Or All of the Above.\u201d In CyPosium - The Book<\/em>, edited by Annie Abrahams and Helen Varley Jamieson, 19\u201330. Brescia: Link Editions.<\/p>\n\n\n\n

Dixon, Steve. 2007. Digital Performance. A History of New Media in Theater, Dance, Performance Art, and Installation<\/em>. E-book Kin. Cambrdige, Massachusetts and London: MIT Press.<\/p>\n\n\n\n

Doyle, Denise. 2015. \u201cOut of This World: Exploring Embodiment and Space through Artistic Processes and Practice.\u201d International Journal of Performance Arts and Digital Media<\/em> 11 (1): 1\u201317.<\/p>\n\n\n\n

Grabowski, By Michael. 2017. \u201cPerception and Poetics of VR Documentaries.\u201d In Being There - ZDOK<\/em>.<\/p>\n\n\n\n

Moles, Abraham. n.d. \u201cTheoretical Analysis of the Intermedia Art Form.\u201d Buenos Aires.<\/p>\n\n\n\n

Nash, Kate. 2021. Interactive Documentary\u202f: Theory and Debate<\/em>. Routledge.<\/p>\n\n\n\n

Pavel, Laura. 2015. \u201cAesthetic Negotiations of Identity \u2013 Between Embodied and Disembodied Performance.\u201d EKPHRASIS. Images, Cinema, Theater. Media<\/em> 1 (Creative Boycott): 80\u201390.<\/p>\n\n\n\n

Pelias, Ronald J., and James van Oosting. 2004. \u201cA Paradigm for Performance Studies.\u201d In Performance. Critical Concepts in Literary and Cultural Studies<\/em>, edited by Philip Auslander, 2003rd ed., 73:219\u201331. Routledge.<\/p>\n\n\n\n

Uricchio, William. 2019. \u201c\u2018Mapping the Intersection of Two Cultures\u2019 Interactive Documentary and Digital Journalism.\u201d MIT Open Documentary Lab.<\/p>\n\n\n","_ro_post_name":"rodica-mocan","_ro_post_excerpt":"","_ro_post_title":"Rodica Mocan","_en_post_content":"\n

Professor
Rodica MOCAN, Phd<\/h2>\n\n\n\n

rodica.mocan@ubbcluj.ro<\/p>\n\n\n\n

habilitation : 4308 \/ 08.08.2018<\/p>\n\n\n\n

Phd. students in internship: 4<\/p>\n\n\n\n

CV<\/a> SHORT<\/a><\/p>\n\n\n\n

CV FULL<\/a><\/p>\n\n\n\n

Links to academic profiles:<\/p>\n\n\n\n

Google Scholar:<\/p>\n\n\n\n

https:\/\/scholar.google.com\/citations?user=mULYhTYAAAAJ&hl=en<\/a><\/p>\n\n\n\n

Academia.edu<\/p>\n\n\n\n

https:\/\/ubbcluj.academia.edu\/rodicamocan<\/a><\/p>\n\n\n\n

ORCID<\/p>\n\n\n\n

https:\/\/orcid.org\/0000-0003-1633-4091<\/a><\/p>\n\n\n\n

CNATDCU STANDARD FULFILMENT<\/strong><\/mark><\/a><\/p>\n\n\n\n

\n\n\n\n
\"\"<\/figure>
\n

Rodica Mocan<\/strong> is a university professor at the Department of Cinematography and Media, specializing in digital media and new media arts. She holds a Ph.D. in Sociology (2005), with a focus on new e-learning methods, and a Ph.D. in Theatre and Performing Arts (2016), focusing on interactive performances and digital art. She obtained accreditation in the field of Cinematography and Media and is a member of the Doctoral School of Theatre and Film.<\/p>\n\n\n\n

Her current research interests are focused on the impact of digital technologies on various aspects of life, particularly in the field of interactive digital arts and emerging artistic genres that utilize new technologies. Her publications include \"eLearning \u2013 A Sociological Perspective\" (Risoprint, 2007), \"Emerging Media Genres \u2013 New Media Documentary\" (Risoprint, 2013), and \"Critical Paradigms in Interactive Digital Performance\" (Cluj University Press, 2017), as well as other academic articles.<\/p>\n\n\n\n

SYLLABUS - NEW ARTS IN THE DIGITAL AGE (RO)<\/a><\/p>\n<\/div><\/div>\n\n\n\n

\n\n\n\n

Doctoral research topics for admission<\/strong><\/h3>\n\n\n\n
\n\n\n\n\n

Carlson, Marvin. 1996. Performance\u202f: A Critical Introduction<\/em>. Routledge. https:\/\/books.google.ro\/books\/about\/Performance.<\/p>\n\n\n\n

Chapple, Freda., and Chiel Kattenbelt. 2006. Intermediality in Theatre and Performance<\/em>. Rodopi.<\/p>\n\n\n\n

Chazichristodoulou, Maria. 2014. \u201cCyberformance? Digital or Networked Performance? Cybertheaters? Virtual Theaters?... Or All of the Above.\u201d In CyPosium - The Book<\/em>, edited by Annie Abrahams and Helen Varley Jamieson, 19\u201330. Brescia: Link Editions.<\/p>\n\n\n\n

Dixon, Steve. 2007. Digital Performance. A History of New Media in Theater, Dance, Performance Art, and Installation<\/em>. E-book Kin. Cambrdige, Massachusetts and London: MIT Press.<\/p>\n\n\n\n

Doyle, Denise. 2015. \u201cOut of This World: Exploring Embodiment and Space through Artistic Processes and Practice.\u201d International Journal of Performance Arts and Digital Media<\/em> 11 (1): 1\u201317.<\/p>\n\n\n\n

Moles, Abraham. n.d. \u201cTheoretical Analysis of the Intermedia Art Form.\u201d Buenos Aires<\/p>\n\n\n\n

Pavel, Laura. 2015. \u201cAesthetic Negotiations of Identity \u2013 Between Embodied and Disembodied Performance.\u201d EKPHRASIS. Images, Cinema, Theater. Media<\/em> 1 (Creative Boycott): 80\u201390. Pelias, Ronald J., and James van Oosting. 2004. \u201cA Paradigm for Performance Studies.\u201d In Performance. Critical Concepts in Literary and Cultural Studies<\/em>, edited by Philip Auslander, 2003rd ed., 73:219\u201331.<\/p>\n\n\n\n\n\n

<\/p>\n\n\n\n\n\n

Andreas Kirkinis. n.d. \u201cHow Interactive Storytelling Is Shaping the Future of Cinema - Little White Lies.\u201d<\/p>\n\n\n\n

Aston, Judith., Gaudenzzi Sandra, and Mandy Rose. 2017. I-Docs - The Evolving Practices of Interactive Documentary<\/em>. Edited by Judith Aston, Sandra Gaudenzi, and Mandy Rose. New York Chichester, West Sussex: Columbia University Press.<\/p>\n\n\n\n

Atkinson, Sarah, and Helen Kennedy. 2016. \u201cIntroduction \u2013 Inside-the-Scenes: The Rise of Experiential Cinema.\u201d Journal of Audience & Reception Studies<\/em> 13 (1): 139\u201351.<\/p>\n\n\n\n

Barbosa, Sarah Tavares. 2016. \u201cFrom Cinema to Virtual Reality - A Phenomenological Approach to the Experience of Immersive Documentaries.\u201d Maastricht University.<\/p>\n\n\n\n

Bucher, John K. n.d. Storytelling for Virtual Reality\u202f: Methods and Principles for Crafting Immersive Narratives<\/em>. Accessed October 15, 2019.<\/p>\n\n\n\n

Grabowski, By Michael. 2017. \u201cPerception and Poetics of VR Documentaries.\u201d In Being There - ZDOK<\/em>.<\/p>\n\n\n\n

Mischie, Ioana. 2022. Cinema Infinit \u2013 introducere \u00een Universul Transmedia<\/em>. UNATC Press. Bucure\u0219ti<\/p>\n\n\n\n

Nash, Kate. 2021. Interactive Documentary\u202f: Theory and Debate<\/em>. Routledge<\/p>\n\n\n\n

Uricchio, William. 2019. \u201c\u2018Mapping the Intersection of Two Cultures\u2019 Interactive Documentary and Digital Journalism.\u201d MIT Open Documentary Lab.<\/p>\n\n\n\n\n\n\n\n

(Chapple and Kattenbelt 2006; Benford and Giannachi 2011; Carlson 1996; Chazichristodoulou 2014; Breder 1995; Pavel 2015; Moles, n.d.; Doyle 2015; Pelias and Oosting 2004; Dixon 2007; Nash 2021; Grabowski 2017; Barbosa 2016; Atkinson and Kennedy 2016; Andreas Kirkinis, n.d.; Uricchio 2019; Bucher, n.d.; Aston, Sandra, and Rose 2017)<\/p>\n\n\n\n

Andreas Kirkinis. n.d. \u201cHow Interactive Storytelling Is Shaping the Future of Cinema - Little White Lies.\u201d<\/p>\n\n\n\n

Aston, Judith., Gaudenzzi Sandra, and Mandy Rose. 2017. I-Docs - The Evolving Practices of Interactive Documentary<\/em>. Edited by Judith Aston, Sandra Gaudenzi, and Mandy Rose. New York Chichester, West Sussex: Columbia University Press.<\/p>\n\n\n\n

Atkinson, Sarah, and Helen Kennedy. 2016. \u201cIntroduction \u2013 Inside-the-Scenes: The Rise of Experiential Cinema.\u201d Journal of Audience & Reception Studies<\/em> 13 (1): 139\u201351.<\/p>\n\n\n\n

Barbosa, Sarah Tavares. 2016. \u201cFrom Cinema to Virtual Reality - A Phenomenological Approach to the Experience of Immersive Documentaries.\u201d Maastricht University.<\/p>\n\n\n\n

Benford, Steve., and Gabriella. Giannachi. 2011. Performing Mixed Reality<\/em>. MIT Press.<\/p>\n\n\n\n

Breder, Hans. 1995. \u201cIntermedia: Enacting the Liminal.\u201d Performing Arts Journal<\/em> 17 (2\/3): 112\u201320.<\/p>\n\n\n\n

Bucher, John K. n.d. Storytelling for Virtual Reality\u202f: Methods and Principles for Crafting Immersive Narratives<\/em>. Accessed October 15, 2019.<\/p>\n\n\n\n

Carlson, Marvin. 1996. Performance\u202f: A Critical Introduction<\/em>. Routledge. https:\/\/books.google.ro\/books\/about\/Performance.<\/p>\n\n\n\n

Chapple, Freda., and Chiel Kattenbelt. 2006. Intermediality in Theatre and Performance<\/em>. Rodopi.<\/p>\n\n\n\n

Chazichristodoulou, Maria. 2014. \u201cCyberformance? Digital or Networked Performance? Cybertheaters? Virtual Theaters?... Or All of the Above.\u201d In CyPosium - The Book<\/em>, edited by Annie Abrahams and Helen Varley Jamieson, 19\u201330. Brescia: Link Editions.<\/p>\n\n\n\n

Dixon, Steve. 2007. Digital Performance. A History of New Media in Theater, Dance, Performance Art, and Installation<\/em>. E-book Kin. Cambrdige, Massachusetts and London: MIT Press.<\/p>\n\n\n\n

Doyle, Denise. 2015. \u201cOut of This World: Exploring Embodiment and Space through Artistic Processes and Practice.\u201d International Journal of Performance Arts and Digital Media<\/em> 11 (1): 1\u201317.<\/p>\n\n\n\n

Grabowski, By Michael. 2017. \u201cPerception and Poetics of VR Documentaries.\u201d In Being There - ZDOK<\/em>.<\/p>\n\n\n\n

Moles, Abraham. n.d. \u201cTheoretical Analysis of the Intermedia Art Form.\u201d Buenos Aires.<\/p>\n\n\n\n

Nash, Kate. 2021. Interactive Documentary\u202f: Theory and Debate<\/em>. Routledge.<\/p>\n\n\n\n

Pavel, Laura. 2015. \u201cAesthetic Negotiations of Identity \u2013 Between Embodied and Disembodied Performance.\u201d EKPHRASIS. Images, Cinema, Theater. Media<\/em> 1 (Creative Boycott): 80\u201390.<\/p>\n\n\n\n

Pelias, Ronald J., and James van Oosting. 2004. \u201cA Paradigm for Performance Studies.\u201d In Performance. Critical Concepts in Literary and Cultural Studies<\/em>, edited by Philip Auslander, 2003rd ed., 73:219\u201331. Routledge.<\/p>\n\n\n\n

Uricchio, William. 2019. \u201c\u2018Mapping the Intersection of Two Cultures\u2019 Interactive Documentary and Digital Journalism.\u201d MIT Open Documentary Lab.<\/p>\n\n","_en_post_name":"","_en_post_excerpt":"","_en_post_title":"","edit_language":"en","footnotes":""},"class_list":["post-182","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/182","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/comments?post=182"}],"version-history":[{"count":12,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/182\/revisions"}],"predecessor-version":[{"id":719,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/182\/revisions\/719"}],"up":[{"embeddable":true,"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/pages\/18"}],"wp:attachment":[{"href":"https:\/\/doctorat.teatrufilm.ubbcluj.ro\/en\/wp-json\/wp\/v2\/media?parent=182"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}