International Journal of Film and Media Arts, Vol. 7, Nº. 1 (2022)
URI permanente para esta coleção:
Navegar
Percorrer International Journal of Film and Media Arts, Vol. 7, Nº. 1 (2022) por assunto "EDIÇÃO DE FILMES"
A mostrar 1 - 2 de 2
Resultados por página
Opções de ordenação
Item Positions and perspectives on artistic research in film(Universidade Lusófona de Humanidades e Tecnologias, 2022) Marten, Gesa; Mistry, JyotiAs 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 blod method : case study of an artistic research project in film(Universidade Lusófona de Humanidades e Tecnologias, 2022) Brennan, Kersti Grunditz; Boholm, AnnikaThe BLOD project aims to create multivocal cinematic experiences through embodied practices. The research explores relation-building through a feminist methodology of creating gaps and friction – between audience, story, time, matter, and co-creators. The project asks, how to tell multifaceted, non-exploitive stories of womb-related states of life and death, rarely depicted in cinema? And how to disturb film industry hierarchies through a collaborative practice that maintains individual artistic integrity and promotes collective authorship? The BLOD method is articulated as a Manifesto, written to accommodate a multitude of contents, forms, and modes of collaboration, while demanding cross-disciplinarity, honesty and risk-taking. The method is non-linear, looping, and embedded in the manifestations of the research: films, performances, presentations, etc. Through this paper, different aspects of the BLOD method are tossed around in relation to BLOD research activities; making cinematic building blocks that allow and induce multiplicity, improvisation, and fluidity of form; sharing personal experiences through fictionalized documentary processes; dealing with ethics in interpersonal and ecological relations. The paper proposes that critical reflection and vulnerability are integral to film production and offers this case study as an example for method development in other research projects or films – especially ones that sprawl, tangle, and defy categorization by field or discipline. Keywords: Collaboration, Embodied practice, Film editing, Filmmaking, Methodology, Relation-building, Scriptwriting