International Journal of Film and Media Arts, Vol. 2, Nº. 2 (2017)
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Item Games can play us: the power of disempowerment in "emotional engineering"(Lusofona University, 2017) Filipe, Eva R.; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoWith the paradox of interactive emotion as a starting point, this study will try to understand what is the cause for this limitation of video games’ emotional power, identifying some requirements for it to be overcome. Through this singling out, the concept of disempowerment is drafted as a model for theoretical inquiry, critical counterpoint and set of practices that stand opposed to the forces that go through, define and are themselves firmed on the diverse layers of the interactive experience. Beyond trying to grasp the emotional potential yet to realize and how the rupture with the established and expected practices may unlock it, the proposal of the disempowerment model will overflow the inside of the game experience. From its construction within a game to its use on discourse about video games, its importance on broader and interwoven dynamics will be highlighted. All along the way, a critical proposal will gain shape, which will seek to, cyclically, magnify video game’s power as a medium of experiences and the power of the medium as a cultural objectItem Suspense mechanics in narrative video games(Lusofona University, 2017) Sayol, Lluis; Colom Pons, Àngel; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoWe put forward a suitable analytical model for studying suspense in video games. This model is based on the analysis of perspective, focalization and the figure of the implied player, which is fundamental to understand the relationship between game, player and emotional effects. We critically review the previous research on point of view in films and video games with the aim of achieving a better understanding of audiovisual narration. The resulting model is a proposal for, in the first place, systematising the relationship between the player -considered here as a theoretical concept: the implied player- and the game. Once this is done, it allows us to study suspense in video games from a narrative perspective and leads us to the conclusion that in video games suspense is not related to a waiting situation –like in films- but to the effort of overcoming difficulties that we know from a previous play.Item A debt repaid. Shoutout to videogame adaptations(Lusofona University, 2017) Wassermann, Jacopo; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoTrouble awaits the scholar who decides to study movie adaptations of videogames – or, as they are more commonly called, ‘videogame adaptations’. Literary and post-literary biases, an unfriendly critical environment and the lack of systematic references are but a few of the many obstacles on her or his path. By addressing these issues and attempting to understand them against the historical and theoretical backdrop that informed them in the first place, this paper aims at a reevaluation, however partial, of these productions as symptoms of a self-reflexive tendency present in contemporary commercial cinema. In the process of nearing a new understanding of these cultural and industrial artifacts, a cross-examination of key concepts belonging to three fields of studies (game studies, film studies and adaptation studies) opens up the possibility of an interdisciplinary cooperation aimed at the adjustment and rectification of mutual assumptions and misconceptions.Item Curating the arcade : strategies for the exhibition of videogames(Lusofona University, 2017) Romualdo, Sofia; Escola de Comunicação, Arquitetura, Artes e Tecnologias da InformaçãoVideogames can be found in a diversity of museums as tools for engagement, mediation, and interpretation, but their relatively recent inclusion as collection objects in institutions such as the moma and the v&a raises tensions between the medium and the exhibition spaces. This paper aims to present an overview of the strategies employed in the exhibition of videogames, and to suggest curatorial methodologies that can be adapted in order to effectively introduce videogames into spaces dedicated to the exhibition of art. Curators are currently at a stage of experimentation in the field of videogames in museums, a time of both challenges and opportunities to study, develop and test new practices. More than providing a comprehensive guide to the history of videogames exhibitions, the intention of this paper is to devise suggestions for curatorial strategies and models for consideration and testing, and future work will determine their potential advantages and disadvantages.