__International Journal of Film and Media Arts

URI permanente para esta coleção:https://hdl.handle.net/10437/15692

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Animating poetry : whose line is it anyway? : creation and critique of shared language in poetry animation
(Lusofona University, 2019) Hanna, Susan J.; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
This paper provides a detailed analysis of an example of personal practice in the creation of collaborative contemporary poetry animation as an example of Ecstatic Truth. It cites a rationale for translation, transcription and remodeling of poems into new animated visual and sonic experiences. This investigation into creation and critique of shared language between poetry and animation includes critical commentary and some historical context, as well as supplying comparative exemplars from poets, animators and collaborators. It suggests that poetry animation is an emergent genre in its own right, and that this has expanding potential for engaging specialist and non-specialist audiences.
Ventura : a character’s mental landscape as history
(Lusofona University, 2017) Cordeiro, Edmundo; ECATI - School of Communication, Architecture, Arts and Information Technologies; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Pedro 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.
Against animated documentary?
(Lusofona University, 2016) Roe, Annabelle Honess; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Animated documentaries have been written about in a mostly positive way that explores the way the form enhances and expands the documentary agenda. This is true of scholarly and academic writing as well as that in the popular press and film reviews. However, some authors have taken issue with the ascription of the term ‘documentary’ to animated documentaries. In addition, there are potential issues regarding audience response to animated documentary and the technical proficiency of the films themselves as they become more ubiquitous. This chapter explores the existing, and potential objections to and criticisms of animated documentary and suggests that a more ‘360-degree’ discussion of the form will enrich the scholarly discourse on animated documentary.
A pile of ghosts : a cinematic heterotopia of spectral urbanization
(Lusofona University, 2022) Raidel, Ella; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
A Pile of Ghosts (2021) is an artistic hybrid film in-between fiction and documentation created through the process of the art based research project Of Haunted Spaces. This research on Chinese ghost cities was a journey in exploring locations and looking for protagonists for the film, that would embody the urbanization processes surfaced as the phenomena of haunted cities by the spectral production of capitalism. As the process of filmmaking goes, settings and castings are staged to re-enact situations that have been observed during the field trips that were undertaken in many parts of China. The search for the unknown narrative keeps modifying and displacing the semantics of the film script. Therefore, in A Pile of Ghosts the line between documentary and fiction, a discursive space, is created in which facts, analyses and references are fused. This is not only to scrutinize the social reality and to render its discourse, but also to foster an aesthetic dimension from reexamining the convention of filmmaking and its representations. It is the method of a performative documentary to enact and re-enact situations and sites to reveal the contradictory characteristics of global urbanziation. The research process is transformed into the making of the film from field research to scriptwriting and casting. The protagonists are appearing in changing roles as construction workers, real estate agents, and investors to enact the realities of capitalism. On the threshold between the visible and the invisible, the haunting ghost of capitalism is materializing in the poiesis of the film, lurking in the limbo zone of fiction, reality and the performative.. Keywords: Artistic Research, Documentary Film, Performative Documentary, Urbanisation, China, Hybrid Cinema, Experimental Cinema.
Memories in decay : 360º spatio-temporal explorations of the past
(Lusofona University, 2017) Debackere, Brecht; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
The 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.
Re-animating ghosts : materiality and memory in hauntological appropriation
(Lusofona University, 2019-12-31) Schofield, Michael Peter; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
This research examines the spectrality of animation and other media based on the photographic trace. Using diverse examples from popular culture and the author’s own investigative practice in media art, this paper looks at how archival media is re-used and can be brought back to life in new moving image works, in a gesture we might call hauntological appropriation. While sampling and re-using old materials is nothing new, over the last 15 years we have seen an ongoing tendency to foreground the ghostly qualities of vintage recordings and found footage, and a recurrent fetishisation and simulation of obsolete technologies. Here we examine the philosophies and productions behind this hauntological turn and why the materiality of still and moving image media has become such a focus. We ask how that materiality effects the machines that remember for us, and how we re-use these analogue memories in digital cultures. Due to the multimodal nature of the author’s creative practice, photography, video art, documentary film and animation, are interrogated here theoretically. Re-animating the ghosts of old media can reveal ontological differences between these forms, and a ghostly synergy between the animated and the photographic.
Editorial special issue on governance : International Journal of Film and Media Arts
(Lusofona University, 2022) Damásio, Manuel José; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
In 2017, the Rome Declaration signaled the EU pledge to work towards a ‘Union where young people receive the best education and training and can study and find jobs across the continent. In that same year the Commission set out the vision of the European Education Area (EEA) as a genuine common space for quality education and lifelong learning across borders for all. Further acknowledgment of the key role higher education plays in the future of Europe occurred with the publication of the “Council Resolution on a strategic framework for European cooperation in education and training towards the European Education Area and beyond (2021-2030)” in February 2021 (2021/C 66/01). In order to attain this European Education Area and the related European Space for Higher Education, many actions have since then been designed and implemented, of which one of the most important is the “European Strategy for Universities” that aims to support the higher education sector in adapting to changing conditions and strengthen cooperation across borders. One of the key initiatives of this European Strategy for Universities is the “European Universities” initiative. Since 2020, this initiative has been supporting 44 Alliances of European Higher Education institutions (HEIs) in which approximately 340 HEIs take part, in reaching higher levels of cooperation and integration.
Reenactment as social action : the making of Encierro
(Lusofona University, 2022) Pereira, Arturo Delgado; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
On 30 July 1984, 11 mercury miners locked down in the mines of Almadén (Ciudad Real, southern Spain) to protest against their precarious economic and social conditions. 650 meters deep inside the oldest and most productive mercury mines in world’s history, the miners endured the dark and contaminated galleries for 11 days and nights until their claims were addressed. As an emigrated local filmmaker, I come back to post-industrial Almadén in 2019 with the idea of making a documentary reenactment film about the mining strike. The premise is to find young locals willing to live inside the now-closed mines for 11 whole days to homage the old miners and recreate the experience of 1984, 35 years later. Apart from engaging our collective mining past, performing the form and duration of a previous workers strike, Encierro proposes the underground as a living and symbolic space to foster a series of conversations, encounters, and social and political propositions to reimagine Almadén, which rose from a mine shaft more than 2000 years ago, as ‘something else besides’ a mining town. This article explores the potential of documentary film shooting to take on a different relationship to normal life than the same or similar events would have as “untransformed reality” (Goffman, 1974, p. 175) - a strike versus the reenactment of a strike – and its potential for activism and social transformation. I will also explore the use of the conditional tense in documentary; a speculative and hypothetical approach to reality sensitive to the ‘potentially’ real, the ‘possible’, and the ‘what if’ as modes of documentation. What happens when the forms of ‘documentary’ and ‘reenactment’ are exceeded, and act upon the world rather than only represent it? Keywords Reenactment, Post-industrial, Mining, Play, Beyond Representation, Mimesis.
Shades of invisibility
(Lusofona University, 2021) Pearce, Sally; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Shades of Invisibility is an ongoing experimental artist’s documentation of my practice in making Chernobyl Journey, an activist film that I have been working on for twelve years. In Chernobyl Journey live action tells the story of my four trips to the Chernobyl Exclusion Zone between 2009 and 2015 in search of rare Przewalski Horses, while animation is used to subversively unravel this apparently straightforward and chronological story backwards, tracing my fascination for the Exclusion Zone back to memories of an acute and life-changing illness in my own timeline from May to August 1986. In the film, animation is used not only to portray my inner private world of sensations, emotions and memories, but also to trace the slow process of arriving at self-knowledge through unravelling invisibilities of a very external and political nature. However, it is not the animation itself that makes the film experimental and subversive, but the way in which the animation is intimately woven into the live action footage. Through methods of compositing and blending, a counter historical narrative is inscribed into the fabric and the forbidden spaces of the two landscapes my auto-ethnographic story inhabits. As well as providing an outlet for my counter historical auto-ethnographic story, Chernobyl Journey also debunks the myth that nature will spring back like a lightly trodden on blade of grass, even after the worst excesses of human exploitation, extraction and environmental disaster. Shades of Invisibility is informed and inspired by my reading of New Materialist texts, in particular Jane Bennett’s ‘Vibrant Matter’. In the text I attempt to explore the efficacy of agencies other than my own will upon my art, using invisibility as a linking theme to create a network of interlocking pathways into subject matter that is dense, multi-layered, interdisciplinary, complex and sometimes politically taboo. My approach to documentation is activist in itself, as it questions the hylomorphic and anthropocentric world view that underpins auteur theory. I argue that this model of creativity based on the unrestrained and unaccountable power of the human individual’s will mirrors the neo-liberal model of unrestrained extractive capitalism that is contributing so much to our present reality of climate crisis, loss of species diversity and global injustice. Keywords: Activist, Chernobyl, Invisibility, Vitalism, Animation.
Faithfully animating the truth : some experiences of a women’s collective
(Lusofona University, 2019) Wragg, Terry; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
For over four decades I have been part of a women’s film collective, Leeds Animation Workshop, set up to make films about social issues. As a founder member, I have had some level of involvement with all the Workshop’s 40 or so films. During this period we have employed a variety of techniques, including fully-painted cel, 3D, mixed media, and cut-outs; but the focus of our collective work remains, as it always has been, on using animation to raise awareness, and to provoke questions and discussion of social issues. This paper consists of a practitioner’s reflections, on the use of animation for documentary and on our collective working practice.
Re-entangling design and science fiction : the case of Daleko
(Lusofona University, 2021) Luersen, Eduardo Harry; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
The present article discusses how speculative design relates to technoscientific extrapolation, an important science fiction feature, to plan for potential scenarios and prototype viable models of futurity. Through it, the paper outlines some important nuances between different approaches concerning speculative design’s role, considering their particular epistemological assumptions. A specific case is presented and discussed: Daleko (2020), a project developed for the Strelka Institute’s Terraforming program. This project consists of nine science fiction pieces that entangle issues of waste management, technical infrastructure, and climate politics, discussing the problematic conception of waste as a form of externality and imagining future scenarios for managing it through a more holistic perspective. By analysing Daleko’s approach to speculative design, in its final section the article suggests further developing speculative projects in contexts of design education. This would serve towards stimulating designers to ponder how their craft relates to anthropogenic impact and how it can play a decisive role in prospecting more viable future scenarios.
Between the point of view and the point of being : the space of the stereoscopic tours
(Lusofona University, 2016) Parmeggiani, Paolo; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
One of the most interesting features of the travel stereoview series is not their three-dimensional effect but rather the intertwined outcome of realism and “being-thereness” in the experience of early twentieth century armchair travellers. On the set of Italy through the Stereoscope, the viewer’s “path of the gaze” was a novelty compared to two dimensional photographs and stereoviews. The Underwood & Underwood publishing company created a stereoscopic multimodal tour to improve the impression of realism with a proprioceptive perception of the scene. The procedure of textual débrayage, the description of the experience as it is happening here and now, the direction of the viewer’s gaze with a narrative itinerary, the changing of the visual convergence with the variation in the points of attention: all of these elements fostered a synaesthesia for the spectator. The result was immersion in an explorable space between the “point of view” (2D images) and the “point of being” (virtual reality).
Aspects of elliptical editing
(Lusofona University, 2018) Sieghartsleitner, Madlen; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
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.
C: (Maintenance) animation is a drag : it takes all the f****** time*
(Lusofona University, 2021) Mc Hardy, Orla; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Animation and motherhood are parallel acts. There are striking overlaps between animation practices and the maternal time of maintenance and caregiving: repetitive acts and gestures, interruption, incremental and elongated time, the embodied experience of slow mundane practices, the durational drag of staying alongside something or someone. The pooled time of caregiving and maintenance, and the pooled time of animation production have a lot in common. In this paper, I want to pull apart some of the ways that an expanded animation practice-as-research shows how animation’s formal self-reflexiveness and media specific histories can start to reveal where value is placed (and not placed) on the time of their shared invisible labours. Possibilities emerge from thinking these invisible labours together, revealing the problematics of what constitutes a rightful subject or object of mothering, and what can be said to constitute animation. Keywords: Expanded Animation, Sculpture, Caregiving, Care, Maintenance, Feminism
Reflexões em torno do comic gaze : do olhar feminino nos primeiros anos do cinema à performance servitudes, de Jesper Just
(Lusófona University, 2022) Diefenthaeler, Samantha da Silva; Cerqueira, Carla; CICANT (FCT) - Centro de Investigação em Comunicação Aplicada, Cultura e Novas Tecnologias
Este artigo tem como principal objetivo refletir sobre as influências do olhar desafiante feminino nos primeiros anos da história do cinema a fim de comprovar a sua influência contemporânea. A partir da análise de três irreverentes gags visuais presentes nos primeiros anos do cinema, nos quais a mulher rompe com o poder da câmera ao olhar diretamente para o dispositivo - Subject for the Rogue ‘s Gallery (A.E. Weed, 1904), Mary Jane’s Mishap [Don’t Fool with the Paraffin] (George Albert Smith, 1903), e One Week (Buster Keaton, Edward F. Cline, 1920) -, propomos uma reflexão teórica que nos permite definir um conceito que denominamos como Comic Gaze. Este está relacionado com as preocupações e propostas do desafio imposto pelo olhar de uma mulher diretamente à câmera. Baseamos esta problematização na proposta de Laura Mulvey sobre o Male Gaze (1975) e bell hooks sobre o Oppositional gaze (1992), as quais nos permitem avançar que esse olhar direto da mulher para a câmera cinematográfica termina desestabilizando a autoridade da perspectiva masculina sobre os seus corpos e funciona como uma lógica de resistência visual. Portanto, o objetivo central deste artigo é indagar e contrastar esse irreverente olhar para finalmente compreender se esse segue presente na performance contemporânea, nomeadamente na proposta de Jesper Just em Servitudes, conectando essas distintas obras apesar da distância temporal existente entre elas. Palavras-chave: Comic Gaze; Jesper Just; olhar; mulher; câmera; humor.
Series culture and fandom in Game of Thrones : check-in as an identity marker in Brazil and Portugal
(Lusófona University, 2019) Vilela, Mateus; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Em tempos de mudança tecnológica, a televisão e as mídias sociais estão cada vez mais entrelaçadas. Assistir a uma ficção em série, por exemplo, não é mais uma tarefa solitária e, a partir da popularidade desse formato, essa pesquisa realizou uma análise de conteúdo dos comentários sobre a quinta temporada de Game of Thrones no Facebook e Twitter no Brasil e em Portugal. A partir dos dados coletados, o ato de check-in nos episódios foi sintomático para questões de pertença, afeto e prazer. Portanto, observou-se a existência de uma conexão emocional entre os fãs, além da percepção da série como parte do self, moldando relações e comportamentos.
Videogametism : consolidating the recognition of video games as an art form
(Lusófona University, 2020) Silva, Marco Fraga da; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Because video games are still considered ’low culture’ by many whilst being one of the most important art forms of the XXI century, this paper proposes a new concept for the field of game studies with the main goal of being a useful tool for the consolidation of the artistic recognition of the medium. A few countries have officially recognized video games as an art form and implemented legislation to support video game artists and their work; unfortunately, many governments still do not recognize this artistic field. For video games to achieve a widespread artistic legitimation it is necessary more critical thinking and institutional validation. The proposed neologism – ‘videogametism’ – is an appropriation of the Eisensteinian concept of ‘cinematism’ and, as Sergei Eisenstein’s legitimation term, ‘videogametism’ intends to support the recognition of video game artistic status, asserting that all art forms are present in this medium and that some artistic artifacts are ‘videogamatic’.
Animated urban surfaces : spatial augmented reality in public discourse
(Lusófona University, 2021) Tritthart, Martina; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Today´s projection art on public surfaces developed from the mutual approximation of painting, architecture, and lighting during centuries. The terms “Spatial Augmented Reality” (SAR) and “projection mapping” describe mostly temporary large screen projections on urban surfaces. The façade architecture becomes the screen for the content, mostly projected 2D and 3D animations. In essence, many of these artworks generate illusionistic clips deriving from the existing façade structure, allowing reality and fiction to merge audio visually. Artists, architects, curators, and institutions are increasingly aware of their responsibility related to this form of the mediatization of architecture, as shown, for example, by the Brazilian artist group Visualfarm. Their members approach their work as a counterpoint to the commercialization of public space in its appropriation by industry, propaganda, and advertising. But on the other hand, they also make a living from commercial assignments. Artists and architects often see themselves as pioneers and experimental researchers for possible developments in the coming digitized cities. By presenting various examples by selected artists like Corrie Francis Parks, Pablo Valbuena and Robert Seidel, the role of animation in connection with an alternative approach to the concepts of augmented realities within this process of social and urban evolution will be discussed. These artists try to integrate digital content into the cityscape in a harmonious sense.
Beats and units : a story-game design framework
(Lusófona University, 2023) Zagalo, Nelson; Oliveira, Ana Patrícia; Cardoso, Pedro; Vairinhos, Mário; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
There are no recipes or rules to develop games, any more than there are to develop stories. When we try to define a game system that not only has to create a balanced experience, but also has to tell a story, which can engage players in creating empathy and meaning, everything gets complicated. We faced this problem when we had to develop a serious game with the goal of promoting discussion and awareness among children around nutrition: FlavourGame. In this regard, we needed not only to design game mechanics that would feel complete and progressive, but also to create a narrative that provided meaning to the game experience, in order to ensure an underlying layer to the context of nutrition. For that, we had to develop a framework that could help the team in guiding the telling of the story while designing the progression of the game. In this article, we present the full framework as a story-game design approach to be employed in the creation of serious narrative games.
The ambivalent vision : the crip invention of blind vision in blind massage
(Lusófona University, 2023) Wang-Xu, Sihan; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Blind Massage, a film directed by Lou Ye (2014), depicts disability and sexuality through stories of blind masseurs. It employs “blind vision”, a novel form of cinematography that depicts blindness, assisting the film in unfolding the subjective experience of the blind masseurs in both sexual and non-sexual scenes.With the invention of blind vision, Blind Massage introduced a non-normative cinematic experience that decentres vision, while cinema had previously been perceived as an intrinsically visual-centred art form. This paper, therefore, asks: How does the ambivalent representation of vision contribute to the cinematic representation of disabled sexuality? Does it reinvent or reinforce the normative understanding of disabled sexuality?As a response, the paper argues that the invention of blind vision destabilises the ableist foundation of cinema that centres on visual experience as the source of pleasure. It mainly grounds the argumentation on criticism of Mulvey’s (1975) gaze theory, which discusses visual pleasure and narrative cinema with the psychoanalytic gaze notion. The notion of blind vision will be elaborated on, not only in cinematography but also as a cultural implication that touches on disability studies and sexuality studies. Methodologically, this paper will, use crip theory, feminist film theories, and psychoanalysis to understand the representation of disabled sexuality in Blind Massage.The paper will be structured as follows. It will first review previous academic discussions on disabled sexuality in cinema. Then, it will elaborate on the invention of blind vision through scene and cinematography analyses and consider how Blind Massage echoes with a Mulveyian gaze theory in terms of marking the gaze as a normative power. Finally, I argue that blind vision could be regarded as an approach to reverse such power and release the potential resistance towards normativity in cinema, with a Lacanian revisit and reworking of the Mulveyian gaze theory.

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