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 "DOCUMENTARIES"

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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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    Re-animating ghosts : materiality and memory in hauntological appropriation
    (Lusofona University, 2019-12-31) Schofield, Michael Peter; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    This research examines the spectrality of animation and other media based on the photographic trace. Using diverse examples from popular culture and the author’s own investigative practice in media art, this paper looks at how archival media is re-used and can be brought back to life in new moving image works, in a gesture we might call hauntological appropriation. While sampling and re-using old materials is nothing new, over the last 15 years we have seen an ongoing tendency to foreground the ghostly qualities of vintage recordings and found footage, and a recurrent fetishisation and simulation of obsolete technologies. Here we examine the philosophies and productions behind this hauntological turn and why the materiality of still and moving image media has become such a focus. We ask how that materiality effects the machines that remember for us, and how we re-use these analogue memories in digital cultures. Due to the multimodal nature of the author’s creative practice, photography, video art, documentary film and animation, are interrogated here theoretically. Re-animating the ghosts of old media can reveal ontological differences between these forms, and a ghostly synergy between the animated and the photographic.