Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a523
Pilar Orero, Sarah McDonagh
As an emerging field of study, Environmental Media Studies explores the connections between the environment, culture, and media, examining the ways in which media representations shape our understanding of and attitudes towards the environment and the natural world (Starosielski and Walker 2016, Shriver-Rice and Vaughan 2019). However, there are currently two significant omissions from Environmental Media Studies. The first pertains to language accessibility, as information needs to be translated and disseminated across various languages and cultures. The second is the availability of media content to all audiences, including those who have difficulties accessing the visual or audio channels. Here, Media Accessibility, as a research discipline, can provide insights that can expand the scope of Environmental Media Studies to include issues of accessibility.This article aims to establish connections between the fields of Media Accessibility and Environmental Media Studies by examining how these two fields complement each other in terms of theoretical and practical insights. A case where both fields can jointly address issues related to accessibility and sustainability is by using subtitles as a metric to gauge a film’s level of engagement with climate change. In this article, we propose the use of subtitles as an additional indicator in the Carbon Calculator used by the film industry. Furthermore, we suggest developing the subfield of Green Media Accessibility to investigate resource use, social equity, and environmental communication in the wider media sphere.
{"title":"Green Film Production for All","authors":"Pilar Orero, Sarah McDonagh","doi":"10.37390/avancacinema.2023.a523","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a523","url":null,"abstract":"As an emerging field of study, Environmental Media Studies explores the connections between the environment, culture, and media, examining the ways in which media representations shape our understanding of and attitudes towards the environment and the natural world (Starosielski and Walker 2016, Shriver-Rice and Vaughan 2019). However, there are currently two significant omissions from Environmental Media Studies. The first pertains to language accessibility, as information needs to be translated and disseminated across various languages and cultures. The second is the availability of media content to all audiences, including those who have difficulties accessing the visual or audio channels. Here, Media Accessibility, as a research discipline, can provide insights that can expand the scope of Environmental Media Studies to include issues of accessibility.This article aims to establish connections between the fields of Media Accessibility and Environmental Media Studies by examining how these two fields complement each other in terms of theoretical and practical insights. A case where both fields can jointly address issues related to accessibility and sustainability is by using subtitles as a metric to gauge a film’s level of engagement with climate change. In this article, we propose the use of subtitles as an additional indicator in the Carbon Calculator used by the film industry. Furthermore, we suggest developing the subfield of Green Media Accessibility to investigate resource use, social equity, and environmental communication in the wider media sphere.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"97 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450214","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.a487
Wilson Oliveira Filho, Diana Seelaender, Mariana Lucas De Almeida Fernandes
{"title":"The statute of image production in cinema and art through artificial intelligence","authors":"Wilson Oliveira Filho, Diana Seelaender, Mariana Lucas De Almeida Fernandes","doi":"10.37390/avancacinema.2023.a487","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a487","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449628","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.a503
Inês Xará, Filipe Lopes
{"title":"Som, Corpo e Emoção no Cinema","authors":"Inês Xará, Filipe Lopes","doi":"10.37390/avancacinema.2023.a503","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a503","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"64 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449717","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.a542
Tony Costa
{"title":"The digital image: The implication changes in education","authors":"Tony Costa","doi":"10.37390/avancacinema.2023.a542","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a542","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"36 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449802","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.a530
Chan Ka Lok Sobel
This paper examines the revitalization of Hong Kong cinema in the post-pandemic era, focusing on the dynamic aesthetics, preservation of locality, and the emergence of a dehybrid style. By analyzing various contemporary Hong Kong films, this paper argues that the post-pandemic recovery period has facilitated new creative possibilities and a reconnection to the region’s unique cultural identity. The study also takes into account the historical trajectory of Hong Kong cinema, the impact of the global pandemic on Hong Kong film industry, and the sociopolitical factors that have shaped the industry’s response to these challenges.
{"title":"The Dynamic Aesthetics, Locality and Dehybrid Style of Hong Kong Cinema facing the Recovery of Post-Pandemic Period.","authors":"Chan Ka Lok Sobel","doi":"10.37390/avancacinema.2023.a530","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a530","url":null,"abstract":"This paper examines the revitalization of Hong Kong cinema in the post-pandemic era, focusing on the dynamic aesthetics, preservation of locality, and the emergence of a dehybrid style. By analyzing various contemporary Hong Kong films, this paper argues that the post-pandemic recovery period has facilitated new creative possibilities and a reconnection to the region’s unique cultural identity. The study also takes into account the historical trajectory of Hong Kong cinema, the impact of the global pandemic on Hong Kong film industry, and the sociopolitical factors that have shaped the industry’s response to these challenges.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450003","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.a554
Anabela Dinis Branco de Oliveira
How does the filmmaker, in building a perspective on painting, maintain the identity of cinema itself? How does cinema film the creator’s relationship with his work? How are aesthetic memory and the process of creative freedom filmable? Can you, through your film options, transcribe and interpret the painter’s creative adventures?And what are the concepts analyzed by the critical reception of these projects? Do they take into account the specificity of cinematographic codes? Do they compare what is not comparable or do they establish creative paths centered on the unavoidable differences between them? Do they define hierarchies and value judgments or do they lead a dialogic path?This communication intends to answer these questions, having as an analytical corpus the representation of Van Gogh’s work in cinema and the critical reception of that same filmic production. The filmic approaches of Alain Resnais, Vincent Minelli, Akira Kurosawa, Maurice Pialat, Andrew Hutton, Paul Cox, Alexander Barnett, François Bertrand, Dorota Kobiela/Hugh Welchman and Julian Schnabel will join the studies of João Mário Grilo, Jacques Aumont, Pascal Bonitzer, Alain Cohen, François Albera, François Jost and Luc Vanchéri.Cinema and painting seek, in this analysis, the possibility of an identity path and the attainment of what João Mário Grilo considers the “essence of the unquotable” in the struggle for a goal – “rescuing the aura of art and filming it”.
{"title":"Van Gogh and Cinema: words, obsessions and textures","authors":"Anabela Dinis Branco de Oliveira","doi":"10.37390/avancacinema.2023.a554","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a554","url":null,"abstract":"How does the filmmaker, in building a perspective on painting, maintain the identity of cinema itself? How does cinema film the creator’s relationship with his work? How are aesthetic memory and the process of creative freedom filmable? Can you, through your film options, transcribe and interpret the painter’s creative adventures?And what are the concepts analyzed by the critical reception of these projects? Do they take into account the specificity of cinematographic codes? Do they compare what is not comparable or do they establish creative paths centered on the unavoidable differences between them? Do they define hierarchies and value judgments or do they lead a dialogic path?This communication intends to answer these questions, having as an analytical corpus the representation of Van Gogh’s work in cinema and the critical reception of that same filmic production. The filmic approaches of Alain Resnais, Vincent Minelli, Akira Kurosawa, Maurice Pialat, Andrew Hutton, Paul Cox, Alexander Barnett, François Bertrand, Dorota Kobiela/Hugh Welchman and Julian Schnabel will join the studies of João Mário Grilo, Jacques Aumont, Pascal Bonitzer, Alain Cohen, François Albera, François Jost and Luc Vanchéri.Cinema and painting seek, in this analysis, the possibility of an identity path and the attainment of what João Mário Grilo considers the “essence of the unquotable” in the struggle for a goal – “rescuing the aura of art and filming it”.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"48 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450045","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.a505
Elahe Saberi
Nonlinear narrative structures are infrequently used in animated short films and their benefits seems to be relatively neglected in comparison with cinema. Yet, the revolutionary potential of utilizing such structures in animated short films is endless. Nonlinear narratives provide techniques and tools which helps in better introduction and development of characters, resulting in in-depth emotional involvement of the audience. Such engagement is viable without the emphasis which classical structure puts on irrevocable principles such as linear timeline. This paper discusses the impact of nonlinear narrative structures in four animated short films, “The coin” (2019), “Negative Space” (2017), “Late afternoon” (2017), “The boy who saw the iceberg” (2000), which demonstrate a restructure of temporal factors. Each of these films is not only taking advantage of an exclusively tailored nonlinear structure using time distortion, they are also enforcing the impact they have on the way characters are delineated which could be inspired by other film-makers in animation. This paper discusses such innovative potentials in narrative structure of animated short films by relying on David Bordwell classical narration theories in “Narration in the fiction film” (1985), which are then diversified into nonchronological structures according to temporal feature of the narration. The present study argues that not only applying various nonlinear storytelling structures is possible in the context of animated short films, it also provides film-makers with measures and capabilities to achieve memorable and engaging characters.
{"title":"The Impact of Non-linear Narrative Structures on Better Character Development in Animated-short Movies","authors":"Elahe Saberi","doi":"10.37390/avancacinema.2023.a505","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a505","url":null,"abstract":"Nonlinear narrative structures are infrequently used in animated short films and their benefits seems to be relatively neglected in comparison with cinema. Yet, the revolutionary potential of utilizing such structures in animated short films is endless. Nonlinear narratives provide techniques and tools which helps in better introduction and development of characters, resulting in in-depth emotional involvement of the audience. Such engagement is viable without the emphasis which classical structure puts on irrevocable principles such as linear timeline. This paper discusses the impact of nonlinear narrative structures in four animated short films, “The coin” (2019), “Negative Space” (2017), “Late afternoon” (2017), “The boy who saw the iceberg” (2000), which demonstrate a restructure of temporal factors. Each of these films is not only taking advantage of an exclusively tailored nonlinear structure using time distortion, they are also enforcing the impact they have on the way characters are delineated which could be inspired by other film-makers in animation. This paper discusses such innovative potentials in narrative structure of animated short films by relying on David Bordwell classical narration theories in “Narration in the fiction film” (1985), which are then diversified into nonchronological structures according to temporal feature of the narration. The present study argues that not only applying various nonlinear storytelling structures is possible in the context of animated short films, it also provides film-makers with measures and capabilities to achieve memorable and engaging characters.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"8 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450115","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.a479
Carlos Pantaleón Panaro
{"title":"Metaphors and archetypal symbols of the domestic space. Its recreation in the film Rear Window","authors":"Carlos Pantaleón Panaro","doi":"10.37390/avancacinema.2023.a479","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a479","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"84 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450220","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.a510
M. Schwartz, A. Taunay
{"title":"Texturas visíveis em A Vida Invisível: uma análise da direção de arte","authors":"M. Schwartz, A. Taunay","doi":"10.37390/avancacinema.2023.a510","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a510","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"92 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450362","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}
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