International Journal of Film and Media Arts, Vol. 7, Nº. 2 (2022)

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http://hdl.handle.net/10437/13379

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    Acousmatic foley : son-en-scène
    (Lusofona University, 2022) Pinheiro, Sara; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    “Acousmatic Foley” is practice-based research on sound dramaturgy stemming from musique concrète and Foley Art. This article sets out a theory based on the concept of “son-en-scène”, which forms the sonic content of the mise-en-scène, as perceived (esthesic sound). The theory departs from the well-known features of a soundscape (R. M. Schafer, 1999) and the listening modes in film as asserted by Chion (1994), in order to arrive at three main concepts: sound-prop, sound-actor and sound-motif. Throughout their conceptualization, the study theorizes a sonic dramaturgy that focuses on the sounds themselves and their practical influence on film’s story-telling strategies. For that, it conveys an assessment of sound in film-history based on the “montage of attractions” and foley art, together with the principles of acousmatic listening. In line with Kulezic-Wilson’s proposal on an “integrated soundtrack”, this research concludes that film-sound should be to sound designers what a “sonorous object” is to musique concrète, albeit conveying all of sound’s fictional aspects.
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    La colorimetría cinematográfica aplicada a los nuevos formatos periodísticos televisivos : el caso del programa español lo de Évole
    (Lusofona University, 2022) Barrientos Báez, Almudena; Caldevilla, David; Blanco-Pérez, Manuel; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Con la irrupción de las multipantallas que ha supuesto la era Netflix, buena parte de las viejas fórmulas visuales, en especial las televisivas y reporteriles, han quedado desfasadas. Ello es especialmente observable en los formatos televisivos fuertemente vinculados al periodismo reporteril, como Españoles por el mundo, Callejeros viajeros y otros. En los últimos años ya se percibía una tendencia de adaptación de los códigos cinematográficos a los productos televisivos, pero la pandemia de la Covid-19 y la prohibición de exhibición en sala en los cines de todo el mundo, ha precipitado un cambio de modelo de consumo. Este artículo presenta una investigación sobre un elemento nuclear: la colorimetría cinematográfica utilizada en programas periodísticos de televisión, en concreto, a uno de los programas periodísticos más vistos de la televisión española: Lo de Évole.
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    Fashion and new technologies. From fashion film to expanded reality - Castelo Branco moda
    (Lusofona University, 2022) Cruchinho, Alexandra; Naik, Neel; Pereira, Selma; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    One of the ways that the designers and the fashion brands select to present and advertise their new collection to the market, the press and the consumer is through the fashion show. In a national context, these fashion shows, which can be for the brand or the designer or multi-brand, have very similar formats, however, at the international level, we can find numerously diverse approaches to the aesthetics of the fashion show of a brand or a designer. The use of digital technologies has become an already adopted alternative in some fashion shows of international reference. Digital technologies seek to make the virtual experience of consumers as close as possible to reality, whether in the direct sale of a product or the promotion of an individual product, brand or lifestyle, through a concept or idea. Fashion film, with its more conceptual, independent and bold nature, has been contributing to the diffusion of the border between the virtual and the real and to create unique experiences for the audiences. Thus, it has been gaining a strong presence in the world of fashion and has conquered diverse audiences. This work presents some examples of international fashion shows that resorted to the use of various applications of digital technologies and, more specifically, the case study of Castelo Branco Moda #19 and the use of audiovisual for the creation of a fashion film outlining the concept and opening of the fashion show.
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    Fear and “The Great Reset” : analysis of the World Economic Forum’s postcovid agenda videos and the adverse reactions to them
    (Lusofona University, 2022) Miloševic, Nemanja; Gutierrez, Miren; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    This article compares the ideological positions found in the visions of the future proposed by the World Economic Forum (WEF) in “The Great Reset” campaign and in the internet users’ reaction to it. In this YouTube campaign, the WEF presents what it understands the “new normal” should be –understood as the new social, economic, and political relations after the COVID-19 pandemic. The YouTube users’ comments reject the agenda and express different grounds for such an attitude. This study identifies the main ideas and ideologies within the comments and in the presentation of the WEF’s campaign using the psychoanalytical political theory. The results reveal that the agenda and reactions to it are motivated by the exacerbated state of inequality and suffering caused by the current pandemic. While “The Great Reset” attempts to save capitalism by integrating human values, the comments contain populist and conspiratorial ideas. Although they rely on different epistemological grounds, the analysis reveals that both share a common understanding of a society that separates the populace against the ruling elites, who have become wealthier during the pandemic.
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    Importance of storytelling and speculative fiction in the transition into a posthuman ecosystem
    (Lusofona University, 2022) Silva, Marco Fraga da; Damásio, Manuel José; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Narratives have been witnessing a state of enfoldment within the virtual world(s) since the proliferation of transmedia story worlds and new media art works. The aesthetics of enfoldment are discussed by Laura U. Marks within different trends in media art. She follows a genealogy of media art that has its roots in premodern Islamic concepts. Enfoldment is therefore situated as the broad framework of this paper’s discussion. Since the prevalence of the concept of transmedia storytelling, coined by Henry Jenkins in 2007, different franchises (be it in entertainment and others) have adopted certain narrative tropes to create a transmedia presence or universe. One of these tropes is the usage of multi-linear storytelling. Multi-linearity is one of the forms narrative storytelling that liberates a story from its temporal structure, making the consumption of narrative open to the end user. Parafiction, on the other hand, denotes instances when the lines between fact and fiction become blurry creating contemporary artworks where story worlds are essential for the dissemination of the works themselves. According to Lambert-beaty (2009) “the slew of recent writings trying to describe or explain this condition ranges from philosophical explorations of ‘the ethics of the lie’, to moralist warnings about our entry into ‘the post-truth era’” (Lambert-beatty, 2009). The following article aims at dissemi nating past scholarship on multi-linear and parafictional storytelling in trans and new media art in an attempt at shaping the the oretical framework of my doctoral thesis project; a podcast series intended for online dissemination that features conversations between a fictional character and non-fictional historical figures.
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    Narratives of enfoldment : multi-linear and parafictional storytelling in media art
    (Lusofona University, 2022) Halwani, Fuad; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Narratives have been witnessing a state of enfoldment within the virtual world(s) since the proliferation of transmedia story worlds and new media art works. The aesthetics of enfoldment are discussed by Laura U. Marks within different trends in media art. She follows a genealogy of media art that has its roots in premodern Islamic concepts. Enfoldment is therefore situated as the broad framework of this paper’s discussion. Since the prevalence of the concept of transmedia storytelling, coined by Henry Jenkins in 2007, different franchises (be it in entertainment and others) have adopted certain narrative tropes to create a transmedia presence or universe. One of these tropes is the usage of multi-linear storytelling. Multi-linearity is one of the forms narrative storytelling that liberates a story from its temporal structure, making the consumption of narrative open to the end user. Parafiction, on the other hand, denotes instances when the lines between fact and fiction become blurry creating contemporary artworks where story worlds are essential for the dissemination of the works themselves. According to Lambert-beaty (2009) “the slew of recent writings trying to describe or explain this condition ranges from philosophical explorations of ‘the ethics of the lie’, to moralist warnings about our entry into ‘the post-truth era’” (Lambert-beatty, 2009). The following article aims at dissemi nating past scholarship on multi-linear and parafictional storytelling in trans and new media art in an attempt at shaping the the oretical framework of my doctoral thesis project; a podcast series intended for online dissemination that features conversations between a fictional character and non-fictional historical figures.
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    Re[PLAY] as imagens televisionadas do futebol como material videográfico
    (Lusofona University, 2022) Barata, Hugo; Alves, Júlio; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
    O espaço dedicado ao futebol em diversos e diferentes programas de televisão nos quais se debate esta indústria é muitas vezes tomado pela busca da “imagem verdadeira”, a imagem que comprova a origem da grande penalidade, a imagem que sustenta a admoestação do cartão vermelho, ou a imagem que denuncia a irregularidade do golo. Todos estes momentos são, hoje, alvo de milhares de horas de comentário do espaço televisivo, demonstrando um enorme pendor sobre o poder das imagens repetida ad nauseum, chegando mesmo a existir um momento no qual se colocou em causa alguns formatos deste tipo de programa devido ao «ruído» e à «toxicidade» que surgia em tais confrontos de ideias. Esta investigação tem como objetivo a criação de um objeto artístico (fílmico/videográfico/instalativo) que explora a condição da imagem-arquivo manipulável surgida neste tipo de programas, e onde não poucas vezes é escrutinada, editada, alterada, descontextualizada, etc., numa busca incessante de determinação de um momento-verdade.