International Journal of Film and Media Arts

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    Bio-jewelry, sustainability and the brazilian jewelry design : reflections
    (Lusofona University, 2024-06-21) Dornellas, Heloísa; Vicentini, Cláudia Regina Garcia; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    The impact of the production chain of conventional jewelry has reached alarming levels in recent years, especially the deforestation of the Brazilian Amazon region and the unregulated activity of mining companies. The consequent concern with human interference in the environment has influenced the change of paradigms in contemporary jewelry design, boosting what we know today as bio-jewelry. These are inserted in the "era of ecoresponsible creativity", as called by Lipovetsky (2015), in which the ethical dimension of respect for the environment is added to product development projects in today's world. Bio-jewelry is a product intrinsically linked to Brazilian culture, being considered an identity and heritage asset, with a sustainable appeal, valuing regional raw materials and the craftwork communities of Brazil. Taking this as the object of analysis, the present study has as a methodological basis the exploratory qualitative research, of descriptive character, through a literature review. Thereby, it was possible to point out the rise of bio-jewelry in the contemporary scenario. By joining natural elements richly found in the country, with noble materials, the creation of bio-jewelry with a differentiated design can be seen as an instrument of innovation and boosting in the national and international jewelry market. Keywords: Bio-jewelry, Jewelry, Design, Sustainability
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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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    Editorial
    (Lusofona University, 2024-12-30) Carvalho, Rita Isabel Fontes da Costa; LARANJO, FRANCISCO MIGUEL CARDOSO MOLINOS TOMÉ; Munro, Silas; SILVA, LUIS MIGUEL RODRIGUES LIBERAL ALEGRE DA; Design I&D - Centro de Investigação em Design e Arte; ECATI - School of Communication, Architecture, Arts and Information Technologies
    This issue results from the international conference Encontro de Tipografia 13: Other Typographic Worlds, which took place at Lusófona University in Lisbon from November 23rd to 25th, 2023. During the event, there were lively and extensive discussions about ‘Other Typographic Worlds’ and what they can be, focusing not only on graphic/ artistic practices that potentiate an expansion of typography as a discipline but also on the socio-political implications of type, particularly around issues of under, mis, and overrepresentation.
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    Editorial
    (Lusofona University, 2024-06-21) Cruchinho, Alexandra; ECATI - School of Communication, Architecture, Arts and Information Technologies
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    Editorial : Sound – Screen – Research
    (Lusofona University, 2023-12-29) Campbell, Kym; Williams, Ross Adrian; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    The dynamic dance of sound and image in the cinematic landscape continually prompts thoughtful analysis and reflection. Michel Chion’s 2019 insight, “You do not see the same thing when you hear, and you do not hear the same thing when you see,” captures a nuanced truth. For those steeped in the world of sound studies, this observation seems almost self-evident, underscoring the balanced role each sense plays in our cinematic experiences. Yet, it’s worth noting that only some people share this perspective. Sound has a subtle way of entering our awareness, often operating in the shadows of our consciousness. Its influence, though sometimes unnoticed, is deeply powerful—acting as the invisible puppeteer of our emotional responses and steering our interpretation of stories.
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    Fashion otherwise
    (Lusofona University, 2024-06-21) Williams, Dilys; ECATI - School of Communication, Architecture, Arts and Information Technologies; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    How can we understand ourselves when everything is moving, all the time? As we hurtle through the 2020s, the earth spinning on its axis at a calculation of 460 metres a second, we wrestle with the super-complexity of ecological, technological, political, social, and economic entanglements. With our multiple frames of understanding in a more than human and unknowable world, this can be exciting and daunting. How we perceive, imagine, know, and interact in the world, involves a sense-making through an unravelling and embracing of ideas and contexts. We are in a state of profound epistemological and ontological crisis described by Bateson (1972), Guattari (2014), Harraway (2016), Escobar (2017) and Akómoléfé (2013) with symptoms and signs of the self-harm that parts of humanity are inflicting on humanity itself and on all life forms. Fashion demonstrates this self-harm in arresting and imbalanced ways, the fashion consumption carbon footprint target for 2030 is exceeded in 14 of the G20 countries. On average, the fashion emissions per capita of the richest 20% were 20 times higher than the emissions of the poorest 20%. This ratio varies substantially across countries, consistent with levels of income inequality (Luca Coscieme et al., 2022). Fashion's habits of self-harm have become normalised. Letting go of bad habits is difficult but might be humanity's greatest demonstration of commitment to life and the ability to imagine otherwise, beyond the dominant current status quo and received wisdom. Humans are a social species, without a togetherness, with other humans and other forms of live, we can't exist. Our being is relational; as individuals, species, and societies, we are embedded in the cyclical processes of nature. This lies at the heart of our ability to thrive. Keywords: Interdependence, fashion design, participation, plurality, otherwise.
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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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    The future of audio-visual designers with a focus on sound
    (Lusofona University, 2023-12-29) Lensing, Jorge; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Sound designers have historically been associated primarily with the realm of films, TV-movies, and series production. However, the scope of their influence is expanding significantly beyond these domains. Notably, professionals in the fields of museum curation, festivals, theatres, and planetariums are increasingly recognizing the transformative potential of incorporating audio-visual elements into their presentations, thereby enhancing the overall quality of audience engagement. Traditionally, many museums have relied on subpar audio guides and monotonous recordings played through inadequate loudspeakers to accompany their exhibits. In stark contrast, innovative exhibition concepts are foregrounding the profound impact of audio-visual installations. These installations completely rethink exhibition experiences, offering visitors entirely new dimensions of engagement within the realms of art, history, and science. In the context of planetariums, a substantial majority of shows continue to feature cosmological themes and scientific narratives presented in full-dome environments. Nevertheless, universities and younger audio-visual designers are now pioneering groundbreaking advancements in immersive audio-visual experiences. The evolution of theatre is yet another arena undergoing a profound metamorphosis due to the integration of audio-visual elements. As multimedia theatre forms such as picture theatre, new music theatre, and dance theatre increasingly embrace interactive electronic media, the traditional theatrical experience is undergoing a paradigm shift. This departure from convention is ushering in a new era of audio-visual performance quality that transcends prior artistic boundaries. Given these transformative trends, the study of sound design is compelled to evolve in tandem. Incorporating visual tasks into the curriculum is becoming imperative, as sound designers navigate these innovative frontiers of multimedia integration. By embracing cross-disciplinary approaches that encompass both sonic and visual dimensions, aspiring sound designers will be better equipped to shape the future of immersive audio-visual storytelling across a diverse array of creative platforms. Keywords: Sound Design, sound, immersive sound, sound design careers
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    Inclusivity in fashion design and social sustainability finally fashion project
    (Lusofona University, 2024-06-21) Cruchinho, Alexandra; REIS, BENILDE MENDES DOS; Neves, José Carlos; SANCHEZ, JOSÉ LUÍS GONÇALVES; Vaz, Sara Elisabete Pinho; ECATI - School of Communication, Architecture, Arts and Information Technologies; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Finally Fashion is the concept that led us to carry out exploratory research, in a classroom context, to answer questions posed by creating new products. The questions reveal, as a starting point, a need for fashion design to intervene. Finally Fashion stands for Finally Fashion and represents an ongoing search by a group of three wheelchair users with reduced mobility to find new products that are not unlike those usually found on the market and that follow trends. This social sustainability project seeks to include groups that, given their characteristics, are often on the margins of society in general. The challenge was set by a group of Fashion Design and Production students from Lusófona University, who sought to adapt garments already on the market to the needs of this type of consumer. In the first phase, the results were very satisfactory, and some of the questions raised regarding the project were resolved. However, they are still being studied for realising and testing prototypes later. The ideas proposed by the students were presented to the group (client), and essential input was received from the user to improve the proposals in the prototype realisation phase. The students showed a very high level of interest in realising the project, which made it possible to show the broader scope and relevance of fashion design to the community from a perspective of inclusivity and social sustainability. Keywords: Social Sustainability; Fashion Design; Modelling; Inclusivity
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    Nancy Cunard and the hours press : Parallax, a skewered angle on the history of publishing
    (Lusofona University, 2024-12-30) Knutsen, Ane Thon; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    This study aims to explore the artistic and cultural contributions of Nancy Cunard, a printer, publisher, and designer from the inter-war modernist era, with a focus on her work as a letterpress printer and her connection to Virginia Woolf. The research investigates how Cunard's printing practice was influenced by Woolf's pioneering efforts in setting up The Hogarth Press in 1917 and how Cunard, like Woolf, challenged established hierarchies and norms within the publishing industry, setting up her own The Hours Press in 1927. The study also delves into the collaborative relationship between Woolf and Cunard, particularly in relation to the publication of Cunard's poem Parallax, which Woolf typeset and published. It highlights the shared themes of their works, addressing the aftermath of World War I and the Spanish Flu, and challenges the notion that Cunard's poem was merely a pale imitation of T.S. Eliot's The Waste Land. The research sheds light on the misogynistic devaluation of women's contributions within the publishing industry. Cunard's memoirs, entitled These Were the Hours, serve as a comprehensive account of her involvement in printing and publishing. She sought to create aesthetically pleasing books while disregarding conventions, embracing experimentation, and following her own aesthetic instincts. Cunard's printing practice reflected a punk-ish aesthetic, featuring rough bindings, expressive covers, and typographical and visual playfulness. In conclusion, this study aims to bring recognition to Nancy Cunard's often-overlooked artistic contributions and shed light on the historical significance of her printing practice. By examining Cunard's work through the lens of graphic design and letterpress printing, the research contributes to a broader understanding of self-publishing history and its impact on contemporary artist books. The study highlights the parallel struggles faced by Woolf and Cunard within a patriarchal system and underscores the enduring relevance of their unconventional approaches to printing and publishing. Keywords: Letterpress, women in print, modernism, artist publishing
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    On the consideration of a black grid
    (Lusofona University, 2024-12-30) Munro, Silas; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    From the funky, fresh Black modernism of the Johnson Publishing Company’s headquarters designed by John Warren Moutoussamy with Arthur Elrod and William Raiser to the expressive graffitied grids of Adam Pedelton’s monumental canvases in black and white, there lives a wide-ranging matrix of possibilities for what I consider to be a Black Grid. As a queer Black artist, designer, and design historian, living and working in conditions of a triple consciousness of overlapping marginalization, I have been in countless situations throughout my career, surrounded by a sea of practices and pedagogies that don’t represent me, my lived experience, or that of kindred spirits. As a result, I have committed to redirecting and centering art and design BIPOC (Black Indigenous People of Color) voices and scholarship in making, writing, and education as a transformational process. To that end, I enact poetic research, which seeks to find lineages from biological ancestors, antecedents in art and design, and chosen family. Design Systems, Design History, Graphic Design, Africa, African American, Fractal Geometry, Grid, Visual Art, Diaspora, Cultural Studies
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    Paradigm shift for an environmentally conscious tanning sector
    (Lusofona University, 2024-06-21) Liberi, Roberto; Alfieri, Valentina; Di Sarno, Silvestro; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    The tanning industry has always been one of the sectors with the highest environmental impact due to CO2 emissions, the chemicals used and the huge consumption of water in production processes. But today, a paradigm shift is taking place whereby even the tanning industry is adopting low environmental impact production strategies and new communication channels to disseminate the social, environmental and economic values/objectives pursued by the tanning sector in response to a misperception of the leather production system by consumers. Today, the largest fashion brands are shifting their attention to sustainable tanning production that focuses on a natural, vegetable-based tanning process that generates a metal-free and bisphenol-free type of leather/leather, and even biodegradable leather in some cases. The Solofra tanning district in Italy is one of the innovative districts in the sector, both creatively and in terms of research. It is precisely the constant research behind the production processes that has made it possible to arrive at a type of leather with a low environmental impact with qualities comparable to chrome-tanned leather. Furthermore, there are many companies that, in recent years, have experimented and perfected alternative materials with characteristics similar to those of animal skin but totally natural, obtained from plants, bacteria and fruit and vegetable waste. The path of evolution towards a conscious and sustainable tanning industry system is only at the beginning, but the paradigm shift is already underway. Keywords: consciousness, traceability, metal-free, natural tanning, alternative natural materials, economic/social/environmental value
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    Publishing is sharing enthusiasm
    (Lusofona University, 2024-12-30) Bettinardi, Tereza; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Tereza Bettinardi is a renowned Brazilian graphic designer celebrated for her expertise in editorial design and typography. With a career spanning over a decade, she has worked on diverse projects, from designing award-winning books to crafting visual identities for cultural institutions. Her work is recognized for its clean aesthetics, thoughtful use of type, and commitment to accessibility and inclusivity in design. Tereza is also an active educator, sharing her knowledge through workshops and lectures, inspiring the next generation of designers.
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    Responsible fashion : how sustainability approaches are changing the fashion industries
    (Lusofona University, 2024-06-21) Conti, Giovanni Maria; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Fashion is a complex field of research where innovation could be made both of deeper aspects such as production chain and of "superficial" aspects. Today fashion is not just synonymous with clothes or accessories; seen from another point of view, it plays an important role in the evolution of the culture of a given context. Poetry and attention to detail characterize the context where all Italian products are created. Due to the lack of important raw materials, Italians have since the dawn of time transformed their "know-how" and the care of know-how into a precious resource. In this sense, Italian design is full of examples, starting from small everyday life objects, perhaps of little significance, which stand out for their design, shape, and color, and which have become iconic. The cultural context plays a crucial role today. While "global fashion" might not exist, a global issue impacting different cultures does instead - and this is precisely sustainability. If sustainable fashion and ethical luxury, exactly antithetical to the concept of fast fashion, are now the center of a design way closer to man- worker, customer, etc. -, then we can say that the Made in Italy has always had the characteristics for fashion ethics. We believe that today, especially in Italy, much more attention is paid to the way a product is made: "fashion products", as most products addressed to common people are usually defined, must prove a high level of care along their entire production chain: care to resources, care to their makers, care to their buyers. Keywords: Sustainability, Clothing Industry, Made in Italy, Culture, Fashion
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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
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    Steno? Graphy!
    (Lusofona University, 2024-12-30) Fernandes, Beatriz Martins; Morgado, Aprígio Moreira; Gomes, António Silveira; ECATI - School of Communication, Architecture, Arts and Information Technologies
    Considering the scarcity of information and the lack of knowledge regarding stenography -very rarely used or called upon nowadays, both in daily and academic contexts - and given the decreasing number of people who hold this specific knowledge, it becomes increasingly urgent the creation of a relevant archaeological and bibliographic Iberian archive of this almost extinct writing form. This text arose in the context of a master's degree aiming to study the universe of stenography and its relevance (if any) in contemporary contexts and technologies. To accomplish this, it was crucial to have access to reliable information regarding this writing form. This objective was pursued through a non-interventionist qualitative methodology that included methods such as bibliographic research, literature review and critique, interviews with experts in the field (namely stenographers, teachers, students) and in-depth case studies. In this paper, we present the groundwork that enabled us to gather information about Portuguese shorthand which was of crucial importance to the development of the project. The bibliographic research revealed the existence of several Portuguese shorthand authors. Through in-depth research and a comparative study among various case studies, we observed that each shorthand system exhibited peculiarities, setting it apart from the others. This divergence was attributed to individual authors' endeavors to revolutionize the field of Portuguese shorthand, striving to establish their methods as the fastest and most effective. Noteworthy distinctions surfaced in areas such as the representation of the stenographic alphabet, the portrayal of numerals in text, the handling of articles, names, abbreviations, and suppressions, among other aspects. None of them provided evidence to determine the official Portuguese shorthand system. However, the interviews conducted revealed that the Martinian System was the official one. They also helped us gain insight into the teaching methods of shorthand employed in class, as well as the layouts students used to enhance writing efficiency. Keywords: Graphic/Editorial Design; Typography; Stenography;Archive;Education
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    Terramoto, sombra, o início do mundo
    (Lusofona University, 2024-12-29) Barroca, Daniel; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
    Este texto é sobre Victor Bor, Tio Jorge e Ntombikte Na Natchi, que em meados dos anos 1980s, sentiram o terramoto interior do Kyangyang, a "Sombra" em Balanta Kuntohe. Este fenómeno teve lugar durante o período em que Nino Vieira foi o presidente da república da Guiné-Bissau, entre 1980 e 1998, e em que o psiquiatra holandês Joop de Jong dirigia o hospital psiquiátrico de Bissau. O Kyangyang ficou para a história como um movimento messiânico pós-colonial que provocou enorme turbulência no seio da comunidade Balanta deste pequeno território da África ocidental. De uma forma geral, tanto as pessoas que fizeram parte do movimento como as que estavam à sua volta, descrevem-no como composto por pessoas que haviam sido apanhadas pela Sombra, ou seja, que de modo súbito e sincronizado viram e ouviram os mortos revelarem-lhes os segredos da escrita e da cura. Victor Bor descreve visões de luzes e explosões que, por vezes, se confundem com episódios da guerra de libertação que se havia passado uma década atrás, mas também com a guerra civil que no final dos anos 1990s destruiu o hospital psiquiátrico projetado por Joop de Jong. Tio Jorge, o irmão da mulher que logo nos anos 1980s se tornou na profetiza do Kyangyang, disse numa conversa que tivémos em Bedanda em 2019, sul da Guiné-Bissau, que tudo começou com um pequeno tremor de terra. Palavras-chave: Desenho/Escrita Talismânica/Sonhos/Guiné-Bissau/Kyangyang
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    Transmedia costume as ‘sustainable’ costume? : blending physical and virtual bodily materialities
    (Lusofona University, 2024-06-21) Pantouvaki, Sofia; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
    Combining tangible and digital means in costume design by merging live digital content with traditional costume materials opens new possibilities to create evolving performance dramaturgies and 'unusual' bodies. This article focuses on recent and ongoing explorations from the field of costume design for live and mediated performance that employ a combination of physical and virtual tools to design multi-layered characters and costumes. The study analyses experimental works that address questions of virtuality and materiality through the costumed body. Such works explore in practice ways in which the physical meets the virtual, and how art, body-oriented design, and performance-making merge and juxtapose with digital means through the medium of costume. The combination of analogue materials, digital technology and moving bodies can provide characters and costumes that can change and reshape over time, while also blending physical and virtual bodies. On a theoretical level, the article addresses the many dimensions and multiple 'physicalities' and 'materialities' that such costumes offer to the representation of human and non-/super-/post-human bodies and characters. The analysis suggests that the transmedia dimension embedded in the incorporation of physical and tangible materials with digital elements expands the materiality of the performing body and character and their interrelation through the(ir) costume. This creates a transmateriality resulting from the combination of materials, media and skin, that 'traverses material substrates' as expressed by Whitelaw (2012). The article aims to stimulate discussion on how digital tools may evoke new visions for costume design, and to propose that transmedia costume may carry a sustainability potential. Keywords: Transmedia, Digital, Costume, Physical, Virtual Bodies, Materiality, Transmateriality