__International Journal of Film and Media Arts

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

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Portuguese soap operas : a genre at the crossroads
(Lusofona University, 2019) Damásio, Manuel José; Costa, Jorge Paixão da; ECATI - School of Communication, Architecture, Arts and Information Technologies; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
In the context of ever greater circulation of televisual content of all genres and formats, this paper focuses on the intersections between the global and the local to understand how a specific genre – soap opera – was localised in a specific cultural and geographical setting giving origin to a production model that gained local prominence and nowadays faces a number of new challenges. Our general argument draws on the empirical findings of original research on the molding of this specific televisual genre and format called “telenovela”, and the specific production mode associated with it, and reflects on its historical emergence and the contingencies of such a process. Our goal is to identify the variables that allowed this genre to gain local dominance and later achieve international circulation. Following the results of quantitative and qualitative research, we argue that the structure of the local production and distribution settings and the dominant ideology of the associated production culture promoted the emergence of an original local production culture and sustains it until today.
Stereoscopic therapy : fun or remedy?
(Lusofona University, 2016) Raposo, Sara; FCAATI - Faculty of Communication, Architecture, Arts and IT
Once the material of playful gatherings, stereoscopic photographs of cities, the moon, landscapes and fashion scenes are now cherished collectors’ items that keep on inspiring new generations of enthusiasts. Nevertheless, for a stereoblind observer, a stereoscopic photograph will merely be two similar images placed side by side. The perspective created by stereoscopic fusion can only be experienced by those who have binocular vision, or stereopsis. There are several causes of a lack of stereopsis. They include eye disorders such as strabismus with double vision. Interestingly, stereoscopy can be used as a therapy for that condition. This paper approaches this kind of therapy through the exploration of North American collections of stereoscopic charts that were used for diagnosis and training purposes until recently.
Contracts of making, viewing and listening : researching in and through films
(Lusofona University, 2020) Ranjan, Ram Krishna; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
This paper tells the story of Contracts of making, viewing and listening, a 17-minute film that has emerged as part of my ongoing doctoral study in Artistic Research in Film. Taking the Bengal Famine of 1943 as a site-event, the doctoral research focuses on investigating and experimenting with epistemologies and ontologies of expressions emanating from a space of subalternity, especially Dalits. Contracts of making, viewing and listening can be seen as an artistic intervention into Satyajit Ray’s Distant Thunder – made in 1973, the film tells the story of effects of the Famine in rural Bengal through the eyes of a Brahmin couple. The artistic intervention was geared towards both critically reading the film from the lens of Dalit consciousness, and to explore ways of writing that critique in the language of the film itself. By retracing the journey of Contracts of making, viewing and listening, this paper focuses on how research is performed in and through the medium of film in this intervention, its multiple conceptual/material contingencies, and ultimately what it proposes in the context of artistic research.
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.
The importance of digital filmmaking and how it affects education in filmschools
(Lusofona University, 2017) Stewens, Simone; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
The 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.
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.
VAST/O : exploring the use of expanded animation for a shared physical understanding of spatial phobias
(Lusofona University, 2019) Woolf, Natalie; Martins, Carolina; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies; HEI-LAB - Human Environment Interaction Lab
This paper looks at materialities of expression through expanded animation. In particular, it details the development of a creative approach for the production of artworks for an installation that will provide a shared understanding of spatial phobias and their physical and psychological symptoms. It brings together the approach of the two authors and their individual research topics. Combining experiential phenomena of particular materials (placing animation within surfaces and technologies), and spatially distributed reading of comic book panels. The physicality of still and moving images and their distribution/placement will be explored, leading to the expansion of animation contexts. Drawing on various makers and practices, the article explores the use of abstract comics and text as static panels and animated drawing, on-site location, and the intervention of various media technologies and other materialities to recognise their effectiveness and impact as a spatially engaged method of reading. The work developed was applied in an interdisciplinary installation titled VAST/O. The artwork is based on some theoretical approaches from literature and animation, thematically drawing on Gaston Bachelard’s notion of vastness, built upon an analysis of Baudelaire’s poetry, and addressing spatial phobias. It seeks to identify a way forward for the communication of the realities of phobic experiences.
Towards a participatory approach : reversing the gaze when (re)presenting Refugees in nonfiction film
(Lusofona University, 2020) Beiruty, Rand; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Living in Germany during the peak of the “refugee crisis”, I was bombarded with constant reporting on the topic that clearly put forth a problematic representation of refugees, contributing to rendering them a ‘problem’ and the situation a ‘crisis’. This reflects in my own film practice in which I am frequently engaging with Syrian refugees as protagonists. Our shared language and culture made it easier for us to form a connection. However, as a young filmmaker, I felt challenged and conflicted by the complexities of the ethics of representation, especially when making a film with someone who’s going through a complex institutionalized process. In this paper I explore how reflecting on my position within the filmmaking process affected my relationship with my film participants and how this reflection influenced my choice of documentary film form. In order to do that, I use what Chapman and Sawchuk (2012) refer to as “Research-from-Creation’’ where research data is generated through the production of, in this case, a short documentary titled Nudar.
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.
Designerly modus of wandering and shared film creation in “Corpos Palimpsésticos" : artistic creations in times of socio-affective contingencies
(Lusofona University, 2021) Almeida, Flávio; Ferraz, Renata; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
“Corpos Palimps sticos”1 emerged in 2020, in a moment of worldwide pandemic due to Covid-19 and because of the end of our relationship as lovers. Soon after our separation, and thanks to the call for proposals of the Residency Program “Residências em Residências Circolando / Central Elétrica 2020 – FASE 2”, the idea of mourning the separation through a creative gesture was born. The fruition of artistic objects in their physical places has been interrupted due to the restriction to people gathering in closed spaces. This new reality has forced artists to rethink the format of their works so they could reach a public that, without the usual places, is now reterritorialized in a digital environment. Thus, the project’s goal was the production of video-performances and the constant online sharing of our creation process. The project had an interdisciplinary approach, and although design and filmmaking were the privileged areas, the work also included text creation, photography, music, and scientific research. We will analyse here existing approaches of creation methods such as co-creation in documentary, art-based research, art thinking and a recontextualization of design thinking in order to reframe these modes of creation in “Corpos Palimps sticos”. By using more than a single methodology, we are interested in a process where our areas of research/creation can dialogue randomly in a non-hierarchical way. Once the residency was over, we systematized the creation process that gave rise to this text. Finally, we created the term “Designerly Modus of Wandering” and used the term “Shared Film Creation” of a previous research to base our creative journey in the areas of design and film creation.
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.
J. A. Bayona's ecstatic truth
(Lusofona University, 2018) López Díez, Jaime; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
The 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.
Animated mythologies of tribal India : from tales of origination to multimedia technology
(Lusofona University, 2018) Douglas, Tara Purnima; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Indigenous 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.
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.
Pedagogical experiment with portrait lighting in combination with different Actor’s intent in the case of novice actors
(Lusofona University, 2020) Lotman, Elen; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Portrait lighting and acting both carry substantial weight in creating character engagement by the viewer, but are rarely researched in conjunction. At the same time both acting and portrait lighting have considerable canons that have developed within the craft system and realized through tacit knowledge. Thus, as both are fields with considerable amount of knowledge and skills, but not enough scientific research conducted yet, it makes sense that the first expansion of knowledge should be conducted through artistic research. In line with Root-Bernstein's ArtScience approach that calls for processes of invention and exploration (Root-Bernstein, 2011), the current study tested out a possible model for researching the interaction between portrait lighting and acting. The current article should be considered as an analytic report on the first interdisciplinary experiment that melded together cinematography, acting, portrait lighting and pedagogy.
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.
Axes of tension : navigating craft, institution and industry as an art-researcher in film and new media
(Lusofona University, 2020) Lipsyc, Nadia; Jaller, Camila; Howard, Frederick; CICANT - Centre for Research in Applied Communication, Culture, and New Technologies
Artistic Research (AR) in collective, industrial arts can find itself to be an intense balancing act: film and new media are expensive forms that rely on commercial expectations and industrial integration, while artistic experimentation flourishes in independence and creative freedom. Transposing the model of the independent artist to large-scale collective productions challenges our vision of art, affiliation and integrity. AR researchers in film and new media can have radically different practices: from industrial creative producers to one-person camera documentarists, from VR designers to screenwriters and 3D artists. While our potential for creation and innovation is similar, our expectations and abilities are as diverse as the cost of our projects. Our contribution spans questions of affiliation, authorship, production and speculation, with the aim to bring clarification on what can be expected for and of diverse AR researchers in film and new media, and to promote the concrete establishment of appropriate support and supervision

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