International Journal of Film and Media Arts, Vol. 7, Nº. 1 (2022)

URI permanente para esta coleção:

http://hdl.handle.net/10437/13110

Navegar

Percorrer International Journal of Film and Media Arts, Vol. 7, Nº. 1 (2022) por data de Publicação

Filtrar resultados por ano ou mês
A mostrar 1 - 7 de 7
  • Item
    A pile of ghosts : a cinematic heterotopia of spectral urbanization
    (Lusofona University, 2022) Raidel, Ella; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    A Pile of Ghosts (2021) is an artistic hybrid film in-between fiction and documentation created through the process of the art based research project Of Haunted Spaces. This research on Chinese ghost cities was a journey in exploring locations and looking for protagonists for the film, that would embody the urbanization processes surfaced as the phenomena of haunted cities by the spectral production of capitalism. As the process of filmmaking goes, settings and castings are staged to re-enact situations that have been observed during the field trips that were undertaken in many parts of China. The search for the unknown narrative keeps modifying and displacing the semantics of the film script. Therefore, in A Pile of Ghosts the line between documentary and fiction, a discursive space, is created in which facts, analyses and references are fused. This is not only to scrutinize the social reality and to render its discourse, but also to foster an aesthetic dimension from reexamining the convention of filmmaking and its representations. It is the method of a performative documentary to enact and re-enact situations and sites to reveal the contradictory characteristics of global urbanziation. The research process is transformed into the making of the film from field research to scriptwriting and casting. The protagonists are appearing in changing roles as construction workers, real estate agents, and investors to enact the realities of capitalism. On the threshold between the visible and the invisible, the haunting ghost of capitalism is materializing in the poiesis of the film, lurking in the limbo zone of fiction, reality and the performative.. Keywords: Artistic Research, Documentary Film, Performative Documentary, Urbanisation, China, Hybrid Cinema, Experimental Cinema.
  • Item
    Reenactment as social action : the making of Encierro
    (Lusofona University, 2022) Pereira, Arturo Delgado; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    On 30 July 1984, 11 mercury miners locked down in the mines of Almadén (Ciudad Real, southern Spain) to protest against their precarious economic and social conditions. 650 meters deep inside the oldest and most productive mercury mines in world’s history, the miners endured the dark and contaminated galleries for 11 days and nights until their claims were addressed. As an emigrated local filmmaker, I come back to post-industrial Almadén in 2019 with the idea of making a documentary reenactment film about the mining strike. The premise is to find young locals willing to live inside the now-closed mines for 11 whole days to homage the old miners and recreate the experience of 1984, 35 years later. Apart from engaging our collective mining past, performing the form and duration of a previous workers strike, Encierro proposes the underground as a living and symbolic space to foster a series of conversations, encounters, and social and political propositions to reimagine Almadén, which rose from a mine shaft more than 2000 years ago, as ‘something else besides’ a mining town. This article explores the potential of documentary film shooting to take on a different relationship to normal life than the same or similar events would have as “untransformed reality” (Goffman, 1974, p. 175) - a strike versus the reenactment of a strike – and its potential for activism and social transformation. I will also explore the use of the conditional tense in documentary; a speculative and hypothetical approach to reality sensitive to the ‘potentially’ real, the ‘possible’, and the ‘what if’ as modes of documentation. What happens when the forms of ‘documentary’ and ‘reenactment’ are exceeded, and act upon the world rather than only represent it? Keywords Reenactment, Post-industrial, Mining, Play, Beyond Representation, Mimesis.
  • Item
    Positions and perspectives on artistic research in film
    (Lusofona University, 2022) Marten, Gesa; Mistry, Jyoti; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    As editors of this issue, we have approached the dimensions of artistic research from our own personal experience as practitioners, knowing that it is significant in a research-teaching context. As a film editor Gesa Marten’s approach to teaching montage through edit labs and collaborative engagement creates frameworks to work through the processes of editing, not simply as part of the production line in filmmaking but one in which editing is a continuation of the research process. Montage is conceived as a practice of critical thinking, exploring and speaking through contextualization, through de- and reconstruction, through the analysis and synthesis of sequences of images and sounds. For Jyoti Mistry, research enquiry is core to augmenting the synergy between her film practice and her pedagogic approach. She has worked extensively on experimenting with pedagogic methods that rely on facilitating research enquiry through artistic practices. These two positions as working practitioners (as editor and filmmaker respectively) and our experience of teaching is important to contextualize the following montage of positions and perspectives.
  • Item
    The poetics of poetry film by Sarah Tremlett - book review
    (Lusofona University, 2022) Hanna, Suzie; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    The Poetics of Poetry Film provides a comprehensive overview of a history of the form. By outlining models and methods it creates a taxonomy of defining characteristics for identification of a range of possible genres and terminologies. As an academic and a practitioner Sarah Tremlett, the author of this book, clearly enjoys the holistic experience of bringing deeper understanding to creative practice through theory and vice versa. She explores poetry in conjunction with film; how formal characteristics are extended, translated or re-visioned as a way of sharing both a subjective and political voice not only through form but as philosophical practice. Numerous references to her own oeuvre are threaded through the publication, which veers from formal academic analysis to highly subjective and pragmatic reflection on aspects of production. In Constructing Dynamic Spatio-Temporality she argues that the remediation of the page poem becomes theoretically interwoven with the sequential nature of the filmic narrative and the spatial construct of the artist’s and animator’s canvas, to create new ways of interpreting combined audio-visual aesthetics.
  • Item
    Reflections around comic gaze : from the female gaze in the early years of cinema to the performance servitudes, by Jesper Just
    (Lusofona University, 2022) Diefenthaeler, Samantha da Silva; Cerqueira, Carla; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Este artigo tem como principal objetivo refletir sobre as influências do olhar desafiante feminino nos primeiros anos da história do cinema a fim de comprovar a sua influência contemporânea. A partir da análise de três irreverentes gags visuais presentes nos primeiros anos do cinema, nos quais a mulher rompe com o poder da câmera ao olhar diretamente para o dispositivo - Subject for the Rogue ‘s Gallery (A.E. Weed, 1904), Mary Jane’s Mishap [Don’t Fool with the Paraffin] (George Albert Smith, 1903), e One Week (Buster Keaton, Edward F. Cline, 1920) -, propomos uma reflexão teórica que nos permite definir um conceito que denominamos como Comic Gaze. Este está relacionado com as preocupações e propostas do desafio imposto pelo olhar de uma mulher diretamente à câmera. Baseamos esta problematização na proposta de Laura Mulvey sobre o Male Gaze (1975) e bell hooks sobre o Oppositional gaze (1992), as quais nos permitem avançar que esse olhar direto da mulher para a câmera cinematográfica termina desestabilizando a autoridade da perspectiva masculina sobre os seus corpos e funciona como uma lógica de resistência visual. Portanto, o objetivo central deste artigo é indagar e contrastar esse irreverente olhar para finalmente compreender se esse segue presente na performance contemporânea, nomeadamente na proposta de Jesper Just em Servitudes, conectando essas distintas obras apesar da distância temporal existente entre elas. Palavras-chave: Comic Gaze; Jesper Just; olhar; mulher; câmera; humor.
  • Item
    The cinema of extractions : film as infrastructure for (artistic?) research
    (Lusofona University, 2022) Gansing, Kristoffer; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    In contemporary discussions of film and artistic research, the historical undercurrent of film as an intense research and development activity, does not seem to be widely discussed. In contrast, film history and media archaeology has since long re-evaluated the status of early moving image technologies, which do not any longer denote pre-cinematic curiosities that simply predate the institution of cinema and its narrative forms but is rather seen as containing socio-technical trajectories and aesthetic regimes that can be studied in their own right. This essay performs a further modulation of the legacies of film history, one in which moving image technology is not seen as primarily a vehicle for film as cinema, but a continuously evolving technological and aesthetic infrastructure for film as research. This then becomes the starting point from which to reflect on artistic research in film, which today is being institutionalized as a form of practice-based research, arguably with the risk of loosing sight of an already long-established tradition of film, not only as research but also as artistic research. With the aid of an accompanying desktop video essay, the article speculates on the changing contexts of film as research visà-vis film as artistic research, from early cinema and its connection to scientific discoveries and the advanced data-analysis of today’s streaming platforms. Inspired by “The New Film History” and Tom Gunning’s influential notion of “The Cinema of Attractions” which revised the view on early cinema and the development of a filmic avant-garde, the presentation eventually focuses on artistic responses to the contemporary “Cinema of Extractions”, as a datafied infrastructure that now conditions what is knowable and sayable through the moving image. Keywords: Artistic Research, Cinema of Attractions, Infrastructure, Netflix, Streaming Platforms, Transversality, Video Essays
  • Item
    The blod method : case study of an artistic research project in film
    (Lusofona University, 2022-10-03) Brennan, Kersti Grunditz; Boholm, Annika; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    O projeto BLOD visa criar experiências cinematográficas multivocais através de práticas corporais. A investigação explora a construção de relações através de uma metodologia feminista de criação de lacunas e fricção - entre o público, a história, o tempo, a matéria e os co-criadores. O projeto pergunta: como contar histórias multifacetadas e não exploradoras de estados de vida e morte relacionados com o útero, raramente retratados no cinema? E como perturbar as hierarquias da indústria cinematográfica através de uma prática colaborativa que mantém a integridade artística individual e promove a autoria colectiva? O método BLOD é articulado como um Manifesto, escrito para acomodar uma multiplicidade de conteúdos, formas e modos de colaboração, ao mesmo tempo que exige interdisciplinaridade, honestidade e assunção de riscos. O método é não-linear, em looping, e incorporado nas manifestações da investigação: filmes, performances, apresentações, etc. Através deste artigo, são abordados diferentes aspectos do método BLOD em relação às actividades de investigação do BLOD: criar blocos de construção cinematográficos que permitam e induzam a multiplicidade, a improvisação e a fluidez da forma; partilhar experiências pessoais através de processos documentais ficcionados; lidar com a ética nas relações interpessoais e ecológicas. O artigo propõe que a reflexão crítica e a vulnerabilidade são parte integrante da produção cinematográfica e oferece este estudo de caso como exemplo para o desenvolvimento de métodos noutros projectos de investigação ou filmes - especialmente aqueles que se estendem, emaranham e desafiam a categorização por campo ou disciplina. Traduzido com a versão gratuita do tradutor - DeepL.com