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In the morning, Huang complains about a bathroom leakage; her mother does not care. In the afternoon she meets Wei who says he plans to leave to Manzhouli to see the elephant. He invites her to live with him on the run but she mocks him for his lack of planning and quips that his only skill is kicking around a shuttlecock. Later, Wei follows Huang to a bakery where he discovers her with the vice-dean. Cheng also happens to be there and tells him that he is looking for a boy who injured his little brother. Wei does not reveal his identity and leaves after writing a note threatening the vice-dean. Later, Huang and the vice-dean go to a hotel room, where she finds out that one of their intercourses was filmed and the video spread online. Huang goes home and tells her mother about it. Later, the vice-dean and his wife intrude and Huang escapes through the window, returning for a baseball bat with which she whacks the vice-dean and his wife.

THIS ARTICLE EXAMINES HOW WIDESCREEN, ANALOG filmmaking strategies such as letterboxing have become commonplace in digital texts such as online advertising, Web-based film series, and even digital animation films from Pixar. The various delivery platforms associated with new media texts must address the spatial and aesthetic challenges presented by the various aspect ratios necessary to accommodate many monitor/screen shapes and sizes. The online and digital texts analyzed in this article use cinematic techniques (such as letterboxing) in an effort to reproduce film/ video poetics and thus present their products in terms of highbrow consumption strategies. Further, many video games, regardless of whether they are of first-person shooter or sport genres, deploy cut-scenes or "cinematics." (1) These techniques ape cinematic tropes in order to blend (or mask altogether) the transition between transtextual choices such as video games based on films or televised sports (e.g., The Godfather or the Madden football franchise, respectively). Because online content faces many challenges--different operating systems, monitor sizes, screen resolutions, and monitor widths, not to mention download speeds--it seems that content producers want to achieve MIVI (Maximum Instantaneous Visual Impact) (Garfield 77), and the panache of letterboxing is useful to colonize monitor space. By colonization, I assert that the shift in aspect ratio and its demarcating effect within screen space requires some visual shift on the part of the viewer. (2) Colonization occurs when Academy ratio proportions are transformed without input from the viewer into a letterboxed or widescreen visual field. 2b1af7f3a8