International Journal of Film and Media Arts, Vol. 8, Nº. 3 (2023)

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http://hdl.handle.net/10437/15159

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Percorrer International Journal of Film and Media Arts, Vol. 8, Nº. 3 (2023) por assunto "CINEMA"

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    The construction of a different fantasmatic body : post-cinematic experience between
    (Lusofona University, 2023-12-29) Glöde, Marc; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    This essay will explore how in a post-cinematic environment, the voice introduces new forms of subjectivity that are distinct from those of the traditional cinematic discourses. According to Mary Ann Doane, to an audience, the "body reconstituted by technology and practices of the cinema is a fantasmatic body, which offers a support as well as a point of identification for the subject addressed by the film." (see: M.A Doane, Yale French Studies , 1980, No. 60, Cinema/Sound (1980), pp. 33/34.) The voice, the dialogue and the sound are part of this fantasmatic body together with the image, the space and spectator in the cinema. But what happens when the framework of image production and image perception radically changes, creating a post-cinematic condition? A post-cinematic state - a condition of streams and networks that is the status quo of today's digital culture. A state that not only affects aesthetics, but also changes the relationship between viewers, images, screens - and the very idea of sub jectivity. It is here that the voice emerges in new forms. Here it plays an important role in our perception and understanding of the world and of ourselves. By examining various post-cinema phenomena such as ASMR or Networked Voices, as seen in recent experimental films by artists such as Ryan Trecartin and Lizzy Fitch, this essay will demonstrate how the voice in post-cinema creates a multiplicity of perspectives that play a key role for new technologies that constitute a subject very differently. Keywords: post-cinema, voice, multi-vocality, subjectivity, ASMR, fantasmatic body, re-sensitization, experimental film, network realities, web experience
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    Film and the disembodied voice
    (Lusofona University, 2023-12-29) Crittenden, Roger; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    The use of voice over often divides both filmmakers and critics - its opponents objecting to the borrowing of a literary device. By examining a multitude of examples this paper seeks to demonstrate that it has often enhanced the effectiveness of film narrative both in the actual storytelling and the emotional impact, by applying a sensitivity in the writing and a careful casting of the voice and performance of the unseen actor or actors. Keywords: Voice-over; narrative; film and literature; author versus auteur; image and sound.
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    Sonic Alchemist : AI’s role in amplifying creativity in film sound
    (Lusofona University, 2023-12-29) Puronas, Vytis; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Defying mainstream views of AI as tools that mimic or replace human input, this paper presents Sonic Alchemist: an avant-garde AI software taking a fresh approach to sound design. Built on the Beginner's Mind principles, it empowers users to defy familiar paths and habits, fostering collaboration between human and machine. Unique features like automatic sound effects matching and a weight-based sound selection system further enhance this partnership. User feedback and case studies highlight Sonic Alchemist's capacity to evoke new insights and unexpected solutions, reinforcing its role as a creative ally. Analysis of industry reception and user responses during testing underscores its potential to transform sound design in visual media. This study underlines the enduring significance of human originality, even in the AI era, portraying Sonic Alchemist as an inspiration tool and a champion of human creativity. It asserts that the willingness to unlearn and rediscover is key in creative innovation, even when assisted by advanced AI tools. Keywords: Sound Design, Artificial Intelligence, Creativity, Chance Operations, Unpredictability, Post-Production, Beginner's Mind
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    Sound dramaturgy
    (Lusofona University, 2023-12-29) Stutterheim, Kerstin; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Sound dramaturgy as part of the aesthetic design of documentary films is invisible but most relevant, although often overlooked. The chapter gives a short introduction to dramaturgy and the importance of sound dramaturgy as most impactful for documentary film productions. The main discussion focusses on sound dramaturgy in films as The End Of Time (Mettler); The Island Of The Hungry Ghosts (Brady 2018), The Wale And The Raven (Leuze 2019) and El Sembrador de Estrellas (The Sower of Stars) by Lois Patiño. An analysis and discussion of the components of sound and music as part of the overall dramaturgical concept, the narrative flow, and their contribution to the final production and its sensual impact on the audience will allow a more informed understanding of such approach. Keywords: Poetic Documentary; Sound; Sound Dramaturgy; narrative strategies
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    “Sound-Conscious” screenwriting : considering sound as storytelling tool in the screenplay
    (Lusofona University, 2023-12-29) Slater, Ben; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    This essay considers issues relating to how sound has been treated historically by screenwriters, and advocates for a more "sound-conscious" screenwriting practice. From my own position as a screenwriter and educator of student screenwriters I begin by looking at common assumptions about the use of sound in screenplays and explore the challenges of including sound as part of a screenwriting practice; then I develop a framework by which screenwriters can identify different categories of sound in order to recognise potential for using sound as a storytelling tool within screenplays. This leads to an analysis of two examples of what could be defined as sound-conscious screenwriting, The Conversation (1974) and A Quiet Place (2018) and the framework is also applied to a sample of recent unproduced screenplays. I conclude with thoughts about how 'sound-consciousness' can be encouraged through the pedagogy of screenwriting. Keywords: Sound, screenwriting, narrative, creative writing, sound design, screenwriting history