Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a549
Ana Luíza Leite Silva, Larissa Duarte Santana Farias, Marcelo Tannure, João Victor Boechat Gomide
{"title":"Cleo and Leo: Rigging of Quadruped Characters for a 3d Animation Series","authors":"Ana Luíza Leite Silva, Larissa Duarte Santana Farias, Marcelo Tannure, João Victor Boechat Gomide","doi":"10.37390/avancacinema.2023.a549","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a549","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"59 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449836","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a517
Éverton de Moraes Kozenieski
{"title":"Cinema, Teoria das Representações e a Produção do Espaço","authors":"Éverton de Moraes Kozenieski","doi":"10.37390/avancacinema.2023.a517","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a517","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"70 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450189","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a480
F. Silveira
{"title":"A Cinematografia do Passageiro a Motor: Experiências do Súbito na Literatura","authors":"F. Silveira","doi":"10.37390/avancacinema.2023.a480","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a480","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"82 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a519
Pedro Gandolla, Ana Paula Dantas Passos
{"title":"ENCINE: uma prova de conceito de política pública para o audiovisual","authors":"Pedro Gandolla, Ana Paula Dantas Passos","doi":"10.37390/avancacinema.2023.a519","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a519","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"95 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a528
Vahid Rajabi, Afsaneh Nazeri, Samira Khodabakhshi
Since its inception, intertextuality has been one of the fundamental literary theories and drawn the interest of numerous theoreticians. First-generation intertextuality thinkers, led by figures such as Julia Kristeva and Roland Barthes, mainly considered the theoretical aspect of intertextuality. Conversely, the second generation, comprising the likes of Laurent Jenny and Michael Riffaterre, championed a more applied view of this theory. Having pervaded various art forms, particularly cinema, intertextuality has earned an important status in art criticism. This research presents a comparative study of the ideas of first- and second-generation intertextuality theorists in regard to cinema, seeking answers to the question of how intertextual expressions and the views of intertextuality theorists have manifested in film through descriptive-analytical and comparative methods. Our findings reveal how the different aspects of intertextuality theories are being used in films today.
{"title":"Perspectives of Intertextuality in Cinema, with Special References to the Work of Kristeva, Barthes, and Jenny: A Comparative Study","authors":"Vahid Rajabi, Afsaneh Nazeri, Samira Khodabakhshi","doi":"10.37390/avancacinema.2023.a528","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a528","url":null,"abstract":"Since its inception, intertextuality has been one of the fundamental literary theories and drawn the interest of numerous theoreticians. First-generation intertextuality thinkers, led by figures such as Julia Kristeva and Roland Barthes, mainly considered the theoretical aspect of intertextuality. Conversely, the second generation, comprising the likes of Laurent Jenny and Michael Riffaterre, championed a more applied view of this theory. Having pervaded various art forms, particularly cinema, intertextuality has earned an important status in art criticism. This research presents a comparative study of the ideas of first- and second-generation intertextuality theorists in regard to cinema, seeking answers to the question of how intertextual expressions and the views of intertextuality theorists have manifested in film through descriptive-analytical and comparative methods. Our findings reveal how the different aspects of intertextuality theories are being used in films today. ","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"78 11","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450342","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a492
Diana Marques, Ana Rita Martins
The importance of ‘place’ in human experience has been widely recognised by scholarship in different fields of study (Smith 1987; Martin 2014; McAndrew 2020) that have pointed out how one’s sense of place and of personal identity are deeply linked. In this context, one of the most relevant places is the house in which one grows up and lives. Traditionally, the home has been depicted as a haven, a shelter from the menaces of the outside world, to where one can safely withdraw. However, what happens when the home creates feelings of horror and oppression, and becomes a site of conflict and brutality?Guillermo Del Toro’s 2015 gothic film Crimson Peak delves into these questions by introducing a house, Allerdale Hall, and a family, the Sharpes, haunted by a cruel past that is both alive and impossible to forget. In this paper, we intend to show how, by resorting to well-known gothic tropes, Crimson Peak subverts the audience’s expectations of home and forces us to question whether the latter can be a safe space. We also aim to discuss the role of the main female characters whom Del Toro seems to model after the Victorian ideal of womanhood, ‘the angel in the house’, Edith Cushing (Mia Wasikowska), and its/her antagonist, ‘the fallen woman’ and ‘the madwoman in the attic’, Lucille Sharpe (Jessica Chastain), whose sexuality threatens socially accepted norms.
{"title":"“A house as old as this”: Domestic Horror in Del Toro’s Crimson Peak","authors":"Diana Marques, Ana Rita Martins","doi":"10.37390/avancacinema.2023.a492","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a492","url":null,"abstract":"The importance of ‘place’ in human experience has been widely recognised by scholarship in different fields of study (Smith 1987; Martin 2014; McAndrew 2020) that have pointed out how one’s sense of place and of personal identity are deeply linked. In this context, one of the most relevant places is the house in which one grows up and lives. Traditionally, the home has been depicted as a haven, a shelter from the menaces of the outside world, to where one can safely withdraw. However, what happens when the home creates feelings of horror and oppression, and becomes a site of conflict and brutality?Guillermo Del Toro’s 2015 gothic film Crimson Peak delves into these questions by introducing a house, Allerdale Hall, and a family, the Sharpes, haunted by a cruel past that is both alive and impossible to forget. In this paper, we intend to show how, by resorting to well-known gothic tropes, Crimson Peak subverts the audience’s expectations of home and forces us to question whether the latter can be a safe space. We also aim to discuss the role of the main female characters whom Del Toro seems to model after the Victorian ideal of womanhood, ‘the angel in the house’, Edith Cushing (Mia Wasikowska), and its/her antagonist, ‘the fallen woman’ and ‘the madwoman in the attic’, Lucille Sharpe (Jessica Chastain), whose sexuality threatens socially accepted norms.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"20 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450448","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a482
Eugen Dediu
The aim of this paper presentation is to analyze in-depth the transition and transformation of performance art into the world of cinema, creating the notion of performative cinema – a notion that is very present in today`s cinematic language, however not enough recognized as a movement in itself. The core mantra of performative cinema is the involvement of the spectator – both the emancipation of the viewer in an age of consumerist blockbusters and his awakening into a certain state of mind (in some cases, performative cinema can even lead towards transcendental meditation). The paper will briefly follow the origins of performative cinema and its techniques, with roots in the works of Alejandro Jodorowsky, Pier Paolo Pasolini and Pere Portabella, while reaching into the present through works of film auteurs like Apichatpong Weerasethakul and Yorgos Lanthimos. The presentation will focus to unveil and analyze the approaches of performative cinema, conveying how it works as a piece of performance art in itself – and how its relay into cinema can be direct, with a dadaesque influence through a transgressive political message (`Holy Motors` by Leos Carax representing an example), or more subtle – through nuances and refined directorial interventions (Weerasethakul`s `Memoria`). The systematic analysis of these movies as core examples of performative cinema means an enterprise into both the narrative elements and the visual identity of the films, with the purpose of classifying a genre that has remained unknown for too long, deserving the treatment of a cinematic wave in itself.
本文旨在深入分析行为艺术向电影世界的过渡和转变，创造表演电影的概念--这一概念在当今的电影语言中非常普遍，但作为一种运动本身却没有得到足够的认可。表演电影的核心要义是观众的参与--既是观众在消费主义大片时代的解放，也是观众在某种精神状态中的觉醒（在某些情况下，表演电影甚至可以引导观众进行超凡的冥想）。本文将简要介绍表演电影及其技术的起源，其根源在于亚历杭德罗-佐杜洛夫斯基（Alejandro Jodorowsky）、皮埃尔-保罗-帕索里尼（Pier Paolo Pasolini）和佩尔-波塔贝拉（Pere Portabella）的作品，同时通过阿彼察邦-韦拉斯哈库尔（Apichatpong Weerasethakul）和约尔戈斯-兰斯莫斯（Yorgos Lanthimos）等电影大师的作品深入到当代。演讲将重点揭示和分析表演电影的方法，传达表演电影本身作为表演艺术作品的运作方式，以及表演电影如何通过跨时代的政治信息（以利奥斯-卡拉克斯的《圣车》为例）直接转播到电影中，产生达达主义的影响，或通过细微差别和精致的导演干预（韦拉斯哈库尔的《记忆》）更巧妙地转播到电影中。将这些电影作为表演电影的核心范例进行系统分析，意味着要对电影的叙事元素和视觉特征进行深入研究，目的是对这一长期以来不为人知的类型进行分类，其本身就应被视为一种电影浪潮。
{"title":"Performative Cinema and Its Techniques","authors":"Eugen Dediu","doi":"10.37390/avancacinema.2023.a482","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a482","url":null,"abstract":"The aim of this paper presentation is to analyze in-depth the transition and transformation of performance art into the world of cinema, creating the notion of performative cinema – a notion that is very present in today`s cinematic language, however not enough recognized as a movement in itself. The core mantra of performative cinema is the involvement of the spectator – both the emancipation of the viewer in an age of consumerist blockbusters and his awakening into a certain state of mind (in some cases, performative cinema can even lead towards transcendental meditation). The paper will briefly follow the origins of performative cinema and its techniques, with roots in the works of Alejandro Jodorowsky, Pier Paolo Pasolini and Pere Portabella, while reaching into the present through works of film auteurs like Apichatpong Weerasethakul and Yorgos Lanthimos. The presentation will focus to unveil and analyze the approaches of performative cinema, conveying how it works as a piece of performance art in itself – and how its relay into cinema can be direct, with a dadaesque influence through a transgressive political message (`Holy Motors` by Leos Carax representing an example), or more subtle – through nuances and refined directorial interventions (Weerasethakul`s `Memoria`). The systematic analysis of these movies as core examples of performative cinema means an enterprise into both the narrative elements and the visual identity of the films, with the purpose of classifying a genre that has remained unknown for too long, deserving the treatment of a cinematic wave in itself.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"15 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450464","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a532
Isac dos Santos Pereira, Maria Ignes Carlos Magno
{"title":"The Monsters That Frighten Me, The Haunts That Feed Me: The Unusual And The Experience Of Marathon For Children And Youth","authors":"Isac dos Santos Pereira, Maria Ignes Carlos Magno","doi":"10.37390/avancacinema.2023.a532","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a532","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"7 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a508
Maroua Médini
{"title":"The revival of Tunisian post revolution independent cinema: “Dachra” by the filmmaker Abdelhamid Bouchnak","authors":"Maroua Médini","doi":"10.37390/avancacinema.2023.a508","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a508","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450057","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a551
Rosimária Sapucaia, Mirian Tavares
{"title":"Live cinema e o seu potencial como recurso para as aulas online","authors":"Rosimária Sapucaia, Mirian Tavares","doi":"10.37390/avancacinema.2023.a551","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a551","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"64 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450076","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：