International Journal of Film and Media Arts, Vol. 7, Nº. 2 (2022)
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Item La colorimetría cinematográfica aplicada a los nuevos formatos periodísticos televisivos : el caso del programa español lo de Évole(Edições Universitárias Lusófonas, 2022) Barrientos Báez, Almudena; Caldevilla, David; Blanco-Pérez, ManuelCon 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.Item Re[PLAY] as imagens televisionadas do futebol como material videográfico(Edições Universitárias Lusófonas, 2022) Barata, Hugo; Alves, JúlioO 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.Item Acousmatic foley : son-en-scène(Edições Universitárias Lusófonas, 2022) Pinheiro, Sara“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.Item Fashion and new technologies. From fashion film to expanded reality - Castelo Branco moda(Edições Universitárias Lusófonas, 2022) Cruchinho, Alexandra; Naik, Neel; Pereira, SelmaOne 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.Item Narratives of enfoldment : multi-linear and parafictional storytelling in media art(Edições Universitárias Lusófonas, 2022) Halwani, FuadNarratives 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.Item Importance of storytelling and speculative fiction in the transition into a posthuman ecosystem(Edições Universitárias Lusófonas, 2022) Silva, Marco Fraga da; Damásio, Manuel José; CONTEMPORARY ARTNarratives 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.Item Transmedia narratives and social networks : Peaky blinders' television fiction(Edições Universitárias Lusófonas, 2022) Martínez-Borda, Rut; Lara, Iris Barrajón; Díaz, Pilar LacasaDigital media expanded the scenarios in which people watch television and the communication contexts where fans comment on their content. This work focuses on the conversations between Spanish speakers that take place on the Internet about the Peaky Blinders TV series. We focus on analysis of the discourse generated from the series’ content in social networks, where pectators converse with one another and on analysis of other, creative practices, which help to develop the transmedia narrative but are generated by the spectators themselves. This is known as fan fiction, cosplay or crossover. We combine big data (Kitchin, 2014), to extract digital texts, and small data to analyze the construction of meanings from the perspective of discourse analysis (Gee, 2014). Big data were collected during the recent premiere of the fifth season in Spain, from 14 March to 15 June 2020 (3 months of which coincided with Covid-19 lockdown).The texts appeared on Twitter, Facebook, and YouTube, as well as in forums, comments, and other digital information. We dynamically defined 268 categories during the data collection stage. This study includes only those that the research team considered were more relevant, facilitating in-depth analysis of the conversations through discourse analysis. The results discuss how participants construct narratives that we interpret from a triple model. First, digital and situated sto rytelling (Ryan, 2019) through reconstruction of the contents and formats of the series by fans (Lacasa, 2020). Second, digital media and the presence of multi-platforms, which have generated transmedia strategies (Kavoori et al., 2017 (Kavoori, 2017)). The study establishes the relationships between these multiple platforms and how audiences are present there. Third, digital contexts that generate conversations, creating dialogue between cultural industries and TV series followers.Item Digital spectacles of violence : film, TV and social media entanglements in 2010’s brazil(Edições Universitárias Lusófonas, 2022) Cardoso, Eduardo PradoThe study of cultural industries, in particular the complex manifestations of spectacle, has produced valuable contributions that articulate capitalism, globalization and culture. The revisitation of this legacy, especially in dealing with Latin American phenom ena, is this paper’s effort. Two case studies that took place in the 2010’s, in Brazil, underpin a reflection on mediated crimes in a digitalized, but still inequal society. The first tells of a prisoner’s self-recorded video, made in response to TV Globo’s news piece about a 2017 massacre; the second examines a reenactment of a 2000 crime that happened on the bridge Rio-Niterói in 2019, and referenced not only a real hijacking, but its film representations (Bus 174 and Last Stop 174). Invoking examples of exception ality, the article aims at delineating how certain digital spectacles of violence can be understood as direct responses to cultural texts: even though practices of socialization via the internet pose questions of accelerated efficiency (in reaching wider audienc es, and updating the meaning of live events), the social and aesthetic performances involving violence retrieve long-standing traditions created by modern institutionsItem Fear and “The Great Reset” : analysis of the World Economic Forum’s postcovid agenda videos and the adverse reactions to them(2022) Miloševic, Nemanja; Gutierrez, MirenThis 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.