International Journal of Film and Media Arts, Vol. 2, Nº. 1 (2017)
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Item Where good old cinema narratives and new media collide(Lusofona University, 2017) Fábics, Natália; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoBased on the study of contemporary action/fan- tasy/horror blockbusters adopted from video games, with a special focus on Assassin’s Creed (Kurzel, 2016), the paper examines the influence of new media, and especially video games on contemporary cinema storytelling, with a spe- cial focus on how they reshape narrative struc- tures and logic through adding a novel spatial dimension and incorporating a new form of re- ality based on the rules of video games. This re- ality of imagined spaces create a narrative that from many aspects break away from the rules and the logic of a more ‘tightly-woven’ storytell- ing, and – among many other things – introduce the presence of the non-present, unfold their plots through discovering the unknown spaces of imaginary universes. While this ‘new real’ is emerging in contemporary cinema, as the pres- ent paper will argue, in years to come it might easily become a set of ‘new rules of the game’ for a lm industry targeting a new generation of movie-goers who grew up with touchscreens and apps, and are just entering their teenage years.Item Reflexive perplexities : the virtual camera in ‘she’s not there’(Lusofona University, 2017) Moyes, Peter; Harvey, Louise; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoWe report on the conception, production and delivery of the live music, live performance, 3D animated project She’s Not There that opened the CILECT congress in Brisbane November 2016. We discuss the operations of the virtual camera in framing the virtual 3D space within the real space of the theatre stage. We muse on this Mixed Reality mode within the context of Goudal’s conception of cinema as fostering in its audience a ‘conscious hallucination’ (1925); the appeal of our project is contingent upon the audience being able to view outside of the frame while enjoying the fantasy within, to knowingly invest in its illusion.Item Moldear a la audiencia : sobre la génesis del efecto en el discurso audiovisual(Lusofona University, 2017) Marino, Iván; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoEl siguiente artículo explora los primeros en- sayos soviéticos destinados a investigar la función del «efecto» en el discurso audiovisual, relacionándolos a su vez con las corrientes del pensamiento dominante de su época. El obje- tivo de esta investigación consiste en volver a las fuentes de la retórica del audiovisual —una de las técnicas discursivas de mayor e cacia y capacidad persuasiva de la cultura contem- poránea— para identi car elípticamente sus reminiscencias en los discursos actuales del cine y la televisión. Siguiendo esta línea de trabajo, analizamos, entre otras, las primeras ideas de Pudovkin (2006), Kuleshov (1974) y Eisenstein (2010a) en torno al tema planteado, deteniéndonos con especial interés en las no- ciones de «atracción» y «efecto» que, a nuestro criterio, subyacen transformadas en los discur- sos audiovisuales del presente.Item Ventura : a character’s mental landscape as history(Lusofona University, 2017) Cordeiro, Edmundo; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoPedro Costa’s last film, Cavalo Dinheiro [Horse Money, 2014], continues the work with Ventura in a way that could be seen to overtake Vanda’s role in his series of films since Ossos [Bones, 1997]. In Juventude em Marcha [Colossal Youth, 2006], by means of «the power of the false» (Deleuze), Ventura is a stratigraphic character, the result of a confrontation between fictional and documentary powers which permanently shifts, in Ventura himself, the actually existing Ventura from the invented Ventura. This builds a portrait that, with the ritornello of the film — Ventura's insistent recitation of a love letter —, moves across centuries of Portugal and world’s history. But in Horse Money, both concentration and fragmentation increase. There are all kind of coincidences and clashes between the past and the present time, which are presented in a glossolalia, voices that spread memory everywhere, as in the final sequence in the elevator, when we have Ventura and a soldier of the 25 April Revolution completely mummified, transformed into a golden statue. I want to highlight the everlasting present created through the length of time and the scarcity of space (we don’t get out of the elevator for a prolonged period of time). This is not a time that corresponds to confusion or delirium; this is the time built by the film, and I will particularly focus my paper on this coincident mental and historical landscape that, by entailing the body and the life of a person transformed into a character, allows to the filmmaker to ride through history with Ventura’s horse-money (‘money’ is the name of Ventura’s horse left in Cap Vert). We have no predefined thoughts and Pedro Costa does not provide us with any exits, but “the nerve-wave that gives rise to thought” (Artaud, via Deleuze) mixes with the noise of the tremor of the elevator that continues without stopping.Item Cinematography in cinema : relationship between teaching contexts and its application(Lusofona University, 2017) Costa, António Afonso; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoBoth as a cinematographer and teacher it seemed to me opportune to write a text where these two components come together and where one could, from that crossing over, reflect on that intimate but always complex relationship between the teaching of a craft and an art in the context of the creative industries. Such a relationship is assumed in the most varied fields of art—one does not teach what one does not practice— the case of cinematography assumes particular interest in a context where, through technological transformation but also through the changes and circumstances of the economic and artistic activity itself where this activity develops, the exercise of the activity has profoundly transformed. This, of course, calls for an equivalent transformation of the teaching methods and processes. This theme is particularly relevant in the context of this special issue where the relationship between cinema and technology is so present.Item Right, left, high, low : narrative strategies for non–linear storytelling(Lusofona University, 2017) Meyer, Sylke Rene; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoBased on studies of affect, and on theoretical works concerning spatial semantics by Yuri Lotman, Mikhail Bakhtin, Michel Foucault and others, spatial story design provides a seven step algorithm of story development for inter- active audio-visual narrative. Following spatial semantics and its application in interactive storytelling, the author no longer creates the protagonist, his or her want or need, nor con- trols the story arc. Instead, spatial story design allows the author(s) to make the formative cre- ative decisions by designing a narrative space, and spatial dynamics that then translate into user generated storylines. Spatial story design serves as a framework for interdisciplinary col- laborations, and can be used to not only create interactive digital narrative but also screenplays, improvisational theatre, 360° lms, and walk-in story world experiences for a number of users in either live or holographic virtual reality spac- es. Spatial story design could inspire creators of interactive narrative, storytellers in time-based media, and possibly also technology developers for authoring tools.Item Multi-task cinema, or a “whatever style”(Lusofona University, 2017) Viveiros, Paulo; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThis text seeks to reflect upon the impact that new imaging technologies — from video introduction to computers dependency — have had on more recent generations of cinema, and its effect on film language. The context of the analysis is North American cinema and the Hollywood industry in particular which, as a large production system, absorbs and transforms technological novelty in order to enlarge the scope of its action (in line with the idea of general audiences and the phenomenon of globalization which loses its cultural specificities). From the cinematographic point of view, the immediate consequences of such impact are felt in film language rooted in classical narrative, with particular focus on action and science fiction films; and, from a cultural standpoint, how they precociously manifest themselves in school movies done by a generation with a visual culture also marked by music videos and YouTube cultures.Item The importance of digital filmmaking and how it affects education in filmschools(Lusofona University, 2017) Stewens, Simone; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThe present document discusses the impacts and changes brought about by digital technologies and the transformations they entail for the different areas of film production, development and education. By focusing on the particular case of one school – The Cologne Film School (ifs) – and how this school as embraced digital disruption, the paperscrutinizes all areas that are shocked by the digital and how film schools can and should react.Item Memories in decay : 360º spatio-temporal explorations of the past(Edições Universitárias Lusófonas, 2017) Debackere, Brecht; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoThe present case study focuses on 'Memories in Decay' is a 360º immersive experience which explores what happens when the past meets the present using the cinematic medium of the future: omnidirectional video. This project is a VR documentary which does not only transport the immersant – the 'spectator' of an immersive experience – to the ruins of a long-forgotten place, but also balances between past and present, providing access to a different time through the use of oral histories and archive photos and documents. In the paper, the author not only discusses the potential of VR but how it affects tradicitonal cinema and its processes.