International Journal of Film and Media Arts, Vol. 3, Nº. 2 (2018)

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http://hdl.handle.net/10437/10882

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    Albert Serra’s the death of Louis XIV (2016) according to Deleuze’s concept of affection-image
    (Lusofona University, 2018) Purev-Ochir, Lkhagvadulam; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    This paper will conceptually apply and analyze Gilles Deleuze’s concept of affection-image, using The Death of Louis XIV (2016), to determine what the affection-image depicts and how it depicts it. Deleuze’s concept is singular in its reconceptualization of the close-up shot where he removes the dimensions, i.e. size and scale, of the shot from its definition and instead argues that the meaning of the shot depends upon the value (quality and power) it manifests. Deleuze calls this value ‘the affect’, and ‘the affect’ is the singular requirement for an image to be categorized as affection-image. I chose Albert Serra’s The Death of Louis XIV to apply and analyze the affection-image because it is a film largely reliant on close-up shots and is a great example of a modern day ‘affective film’. Specifically, I shall study the moments and instances where affection-image materializes in The Death of Louis XIV. I determined that there are three notable instances where Deleuze’s concept plays out: firstly, affection-image as failed action-image; secondly, affection-image as any-space-whatever; and thirdly, affection-image as degradation to impulse-image. Deleuze’s concept of the affection-image may encompass shots that are commonly known as medium and wide shots. The affection-images in The Death of Louis XIV create, in aesthetic arrangement with other images, a poignant and wry memento mori about the futility of power in the face of death, and about the banality of death and its ceremonies.
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    Aspects of elliptical editing
    (Lusofona University, 2018) Sieghartsleitner, Madlen; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Temporal omissions can be found in the most diverse manifestations of various genres and film cultures. However, the ellipsis as a narrative tool has seldom been addressed in film theory, and when it has, it has tended to be treated in a manner of purely instrumental qualities of skipping the unimportant parts of a plot, to cover vast stretches of story time or as a pure mean of scene transitions. By contrast, I argue that temporal omissions have the potential to be a key creative tool in a filmmaker’s arsenal. I will investigate on how temporal ellipses are used in films and through this analysis I will discuss about how it can serve as a dramaturgical feature in narrative film. Questions I want to occupy myself within this dissertations are: What characterizes temporal omission in film? Is there different types identified and how can they be distinguished? Is there a phrase catalog, a standardized vocabulary? How is elliptical editing influential in a story’s structure and hence can it contribute to a high dramaturgical quality of a narrative? This paper is an attempt to depict the terminology, identify and differentiate scopes of elliptical editing but moreover it is an investigation on the temporal ellipsis and it’s means of aesthetic construction to create a receptive stimulus for the narration in fiction film.
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    Cinematic polyphony in Lucrecia Martel’s cinema : the musicality of narrative film in ‘the headless woman’
    (Lusofona University, 2018) Sarmiento, Jerónimo; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    This paper provides an overview on the concept of musicality in fiction cinema language, understanding the comparative analysis of both art forms and considering cinema as a potentially musical construction. Furthermore, the examination of polyphonic musical textures and its methodical application in the formal analysis of Lucrecia Martel’s cinema (namely in her 2007 film The Headless Woman) provides a new perspective on the aesthetical values of the Argentinean filmmaker’s work with sound and image, which unveils other forms of assuming fiction film narration.
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    Digital marketing : strategies for next-generation film distribution
    (Lusofona University, 2018) Falcon Araujo, Ana Victoria; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    Digital distribution led to the rise of next-generation filmmakers, whose content (both short and feature length) was created for and distributed to online audiences (Ryan & Hearn, 2010). Independent companies and large studios (Netflix, Amazon Studios, Hulu) producing next-genera- tion film do not rely on theatrical success, since they work on micropayment, subscription or advertising-driven business models. This paper includes a literary review that maps the digital marketing strategies over the purchase journey, and define key performance indicators for each digital marketing strategy. To explore how next-generation film distributors are currently employing digital marketing strategies, a survey and a multiple case study methodology was designed and then implemented. The findings of the literary review, the survey, and case study are used to point out the limitations, industry challenges and research opportunities in the field of next-generation cinema.
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    Rhizomatic sound design
    (Lusofona University, 2018) Bañuelos Loreto, Israel; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    The exploration of this research is the effect of the sound design in a long take to reveal a powerful narrative structure. The research proposes a new term: rhizomatic sound design, which seeks to bind together the rhizome theory with the sound design practice. Analyzing the acoustic elements that configures the long take, the result of this research invites the team members of a film to apply the rhizomatic sound design concept in their own fields, to gain a deeper understanding of the cinematic language and acknowledge new ways to create the architecture of the narrative.
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    The uncertainty war : applying entrepreneurial practices to microbudgeting for short films
    (Lusofona University, 2018) Salazar Cavazos, Sergio; Escola de Comunicação, Arquitetura, Artes e Tecnologias da Informação
    The following paper offers an analysis of the development process of “Roof Knocking” (2017), a studio short film set in Gaza, spoken entirely in Palestinian Arabic, produced in Estonia, with a given budget of €5,000 euros. The purpose is to introduce a set of practices based on entrepreneurship principles that can apply to similar projects, serving filmmakers to build resources timely and mindfully. Short films can prove a producer’s capacity to find and maximize resources. By implementing entrepreneurial practices in short film production, filmmakers can fight uncertainty while working at micro-budget level in Europe. The methodology used to compile the relevant data based upon the Lean Startup’s build-measure-learn feedback loop. The decisions made by the producer while projecting “Roof Knocking” are measured by risk, and later translated to budgeting strategies. A reflection on creative industries and independent filmmaking in Europe supports the author’s analysis. The film’s value chain modification creates an arena for innovation, with easier access for new actors but facing greater competition. Project management is fundamental for the entrepreneurial producer. Applied entrepreneurship prove its feasibility in the film industry. The producer’s intention is to offer an alternative approach to film producing that puts the budget in the background, being the support but not the core of a movie. Meditation and lateral thinking are practices to attach upon reflecting the producer’s decisions, including the ability to see beyond plausible mistakes. The vision of the producer is to propose a scheme to build productions upon resources available (tangible and intangible value), identifying and cutting costs since the early stages of development.