International Journal of Film and Media Arts, Vol. 4, Nº. 2 (2019)

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http://hdl.handle.net/10437/10885

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Percorrer International Journal of Film and Media Arts, Vol. 4, Nº. 2 (2019) por assunto "AUDIOVISUAL"

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    Animating poetry: whose line is it anyway? : creation & critique of shared language in poetry animation
    (Lusofona University, 2019) Hanna, Susan J.; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    This paper provides a detailed analysis of an example of personal practice in the creation of collaborative contemporary poetry animation as an example of Ecstatic Truth. It cites a rationale for translation, transcription and remodeling of poems into new animated visual and sonic experiences. This investigation into creation and critique of shared language between poetry and animation includes critical commentary and some historical context, as well as supplying comparative exemplars from poets, animators and collaborators. It suggests that poetry animation is an emergent genre in its own right, and that this has expanding potential for engaging specialist and non-specialist audiences.
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    Cornish knitting pattern series
    (Lusofona University, 2019-12-31) Nightingale, Jennifer; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    The Cornish Knitting Pattern Series is a collection of 16mm animation landscape films that use a single frame production technique to translate Guernsey knitting patterns into film. In doing so, the films set up a structural relationship between that of a knitted stitch and a frame of film—drawing out analogies between both forms of production. The article considers methods and processes of the films’ production, including the role of the film charts and location-as-editing system. The film charts are explored as examples of an approach to systems-based editing and a single frame production in the context of experimental film. They are also discussed as visualizations of the knitting patterns; pragmatic preproduction material; notation documentation and retrospectively a significant aid to reflection on the work carried out. Key aspects of the film series such as how gesture, landscape and film are ‘knitted together’ in the film as a material object, are also highlighted. Further to this the article explores how these aspects reveal readings of the films’ relationship to Landscape, knitting practices and the historical and cultural aspects of the Cornish Guernsey patterns.
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    Faithfully animating the truth : some experiences of a women’s collective
    (Lusofona University, 2019) Wragg, Terry; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    For over four decades I have been part of a women’s film collective, Leeds Animation Workshop, set up to make films about social issues. As a founder member, I have had some level of involvement with all the Workshop’s 40 or so films. During this period we have employed a variety of techniques, including fully-painted cel, 3D, mixed media, and cut-outs; but the focus of our collective work remains, as it always has been, on using animation to raise awareness, and to provoke questions and discussion of social issues. This paper consists of a practitioner’s reflections, on the use of animation for documentary and on our collective working practice.
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    Process & temporality: chance & (al)chemical traces invigorating materiality & content in the films of Péter Forgács, Penny Siopis and Ben Rivers
    (Lusofona University, 2019) Gaal Holmes, Patti; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    This article discusses encounters occurring between the hand of the artist and filmmaking processes that may bypass the intellect, identifying themselves through intuitive modes of production to reveal integral relationships between film form, materiality and content. In this way the results of non-human agency, registered within film chemistry and processes of production – physical, intellectual, ‘spiritual’, (un)conscious – interact as the filmmaker takes an idea from conception to projection. Jane Bennett’s theorization of ‘vital materialism’ is important for investigations (2010), as is the role of chance discussed by William Kentridge (1993), whereby deliberations include the fortuitous manifestations occurring as encounters between hand, page and camera coalesce in the production of films. Additionally, approaches are informed by Vilém Flusser’s description of the photographer as a ‘Functionary: ‘a person who plays with apparatus and acts as a function of apparatus’ (Flusser 2007, p.83). This is, arguably, equally pertinent for the cinematographer/animator/artist who can ‘creep into the camera [and processing/editing equipment] in order to bring to light the tricks concealed within’ (Flusser, p.27).