International Journal of Film and Media Arts, Vol. 3, Nº. 1 (2018)
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Item Ethnographic animation : participatory design with the Longhorn Maio(Lusofona University, 2018) Wang, Yijing; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThis research proposes animation as a form of ethnographic documentary, exploring animation’s potential to document the underrepresented cultures (e.g. oral culture) of minorities. Drawing upon a critical analysis of the approaches and methods used in animated documentaries that involve minority issues, alongside preliminary studies of the Longhorn Miao, this project will result in an animated documentary that explores aspects of the cultural practices the group undertakes. This project’s contribution to knowledge lies in expanding the use of animation as an innovative form of ethnographic documentary, defining an emerging territory of ethnographic animation and expanding of participatory design principles to represent the Longhorn Miao people.Item Animating documentary modes : navigating a theoretical model for animated documentary practice(Lusofona University, 2018) Widdowson, Alex; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoMusic & Clowns is an animated documentary that intimately portrays the subjectivity and relationships between my brother, our parents, and myself. This film will function as a case study to facilitate a reflective exploration and practice-informed analysis of some of the theoretical frameworks relevant to animated documentary discourse. Placing emphasis on Bill Nichols’ modes of documentary, I trace the influences, interactions, and specific application that this theoretical topology has had on Music & Clowns. Expanding upon Nichols’ framework by way of visual metaphors, I develop increasingly sophisticated models of the interactions between practice and theory, maintaining Nichols’ topology to integrate live-action and animated documentary traditions.Item Animated mythologies of tribal India: from tales of origination to multimedia technology(Lusofona University, 2018) Douglas, Tara Purnima; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoIndigenous cultures worldwide have long held distinctive beliefs that ascribed a living soul or anima to biological and non-biological entities including plants, particular inanimate objects and to natural phenomena. To the people who belonged to these traditional social groups, organic matter was vibrant, sentient and existed in dynamic relationship to Humankind. Anthropological studies seek to decode the nuances of tribal rituals and the traditional practices of ‘other’ cultures; however, the underpinning of objectivity is challenged by indigenous research, to question the underlying authority. For these societies, the merit is present in the interconnections and relationships. In India, liminal local perspectives have been largely excluded from mainstream media and this project investigates ethnographic film and animation as participatory media practice by indigenous storytellers in collaborations with the film-maker. The aim is to also present the contemporary experiences recounted by the participants as we revisit their timeless narratives. In the process this becomes a transformative experience that reconnects us with the social function of the artistic practices that have sustained traditional societies.Item And the earth was without form : visual effects and wonder in terrence malick's voyage of time (2016)(Lusofona University, 2018) Poch, Chantal; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoTerrence Malick’s Voyage of Time puts the latest technology into the search for the oldest images we can think about, those of our origin. Taking this paradox as a starting point, we will explore precedents of visual effects in science documentaries and their role in Malick’s particular quest for wonder. Are VFX capable of truth?Item J. A. Bayona's ecstatic truth(Lusofona University, 2018) López Díez, Jaime; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThe aim of this study is to seek the ecstatic truth that lies in the Spanish filmmaker, J. A. Bayona. In order to do so we have analyzed his four films, The Orphanage (2007), The Impossible (2012), A Monster Calls (2016), and Jurassic World: Fallen Kingdom (2018), as well as the first episode of the television series Penny Dreadful (2014). Our perspective has been a psychological one. Bayona defines his first three films as a trilogy on the mother-child relationship and death. Thus, we have studied his films from the point of view of Freud’s theory of the unconscious and the primal scene. Our research shows that Bayona’s films may be failing in trying to deal with two unconscious conflicts: 1) his need to detach from an archaic mother figure; and 2) his need to get rid of the anguish caused by the possibility of not being born, which is also related to the first conflict.