IJSIM : International Journal on Stereo & Immersive Media, Vol. 2, Nº. 1 (2018)

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http://hdl.handle.net/10437/10866

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Percorrer IJSIM : International Journal on Stereo & Immersive Media, Vol. 2, Nº. 1 (2018) por assunto "CINEMA"

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    Invention of the Myth of Total Photography
    (Edições Universitárias Lusófonas, 2018) Timby, Kim; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    In the mid-twentieth-century, it was widely believed that innovations in photographing movement, colour, and depth would one day afford complete mastery of the simulation of visual perception. This collective representation of purpose and of progress in photography was eloquently expressed as the “myth of total cinema” by André Bazin (1946), who argued that the longing for “integral realism” had always marked mechanical reproduction, inspiring inventors since the nineteenth century. This assumption remains common today. The present article historicises the integral-image utopia, mapping the expression of its intellectual mechanisms in the first accounts of photography then in photography’s emerging historiography. This research reveals the absence of a shared project around “complete” perceptual realism for most of the nineteenth century. The idea of progress toward a total image reproducing vision emerged and came to prevail in the popular imagination at a very particular moment – in 1896, following the invention of cinema – transforming how people thought about the future of photography and told the story of its past.
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    Media Archaeology as Practice : The case of Bill Morrison's Dawson City: Frozen Time
    (Edições Universitárias Lusófonas, 2018) Gonçalves, Dulce da Rocha; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Bill Morrison’s film Dawson City: Frozen Time (2016) is about a famous story among archivists: in 1978, 533 nitrate film reels, mostly from the 1910s, were discovered in what used to be a swimming pool in a remote city in Canada. Many of these films were thought to be completely lost, and the Dawson City Film Find remain the only surviving prints to date. This paper will expose Morrison’s work as media archaeology practice, connected to media archaeology’s main thematic thread histories of the present. Morrison explores the Dawson City story as motive for a reflection on historical and material time. Erkki Huhtamo’s topos approach will be used as the framework for the analysis of Morrison’s treatment of history; and Vivian Sobchack’s conditions for experiencing the past as “presence” will inform the analysis regarding the importance of the film materiality. Finally, Eelco Runia’s thoughts on metonymic and metaphorical devices will inform the connection between history and presence.
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    Spectators' Experience of 2D Film Versus Virtual Reality Cinematic Film
    (Edições Universitárias Lusófonas, 2018) Nicolae, Dana; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Many agree that the best-known image related to virtual reality (VR) experiences is the head mounted display (HMD). While the history of headset-mediated virtual reality dates back to the sixties with Ivan Sutherland’s Sword of Damocles trials, the past two years have seen the release of impressive high definition image rendering HMDs that have also prompted the production of various VR experiences such as movies, games, therapeutic content, documentaries and even simple interactive movies just to name a few. The cinematic films had no prior precedent for this medium. Can we truly name VR films cinematic? What can we say about the difference between 360-degree fictional movies and VR computer-generated ones? What can we say about these new categories of technologically-mediated fiction and their spectators? How are they different from the two-dimensional spectator experience? These are legitimate questions that I will address in my paper.