Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a533
Noni Geiger, M. Martins
{"title":"A imagem em movimento numa escola de design","authors":"Noni Geiger, M. Martins","doi":"10.37390/avancacinema.2023.a533","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a533","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"83 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450228","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.a539
Mário Mesquita
We travel through public space as if our eyes were objective and camera lenses. They are our own technology. Wandering through the cities, we build a film of life through our eyes that are fixating on the retina of memory spatial constructions, environments, experiences, and a whole set of anonymous characters that give them meaning. In a certain way, we are directors and producers who work an invisible film and who, through the simple “walk around”, relaxed, focusing on the floor, raising their gaze, mentally drawing constant three-dimensionalities, we give body to these narratives of each of our daily lives.
{"title":"Flaneur: the film of the architecture of public space","authors":"Mário Mesquita","doi":"10.37390/avancacinema.2023.a539","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a539","url":null,"abstract":"We travel through public space as if our eyes were objective and camera lenses. They are our own technology. Wandering through the cities, we build a film of life through our eyes that are fixating on the retina of memory spatial constructions, environments, experiences, and a whole set of anonymous characters that give them meaning. In a certain way, we are directors and producers who work an invisible film and who, through the simple “walk around”, relaxed, focusing on the floor, raising their gaze, mentally drawing constant three-dimensionalities, we give body to these narratives of each of our daily lives.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"68 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450248","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.a504
Alejandra del Barrio Cabello
{"title":"El documental true crime español en las plataformas digitales (2016-2021): evolución y rasgos característicos","authors":"Alejandra del Barrio Cabello","doi":"10.37390/avancacinema.2023.a504","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a504","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"96 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450270","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.a545
Sofia Figueiredo, Catarina Carneiro de Sousa
The concept of interactive cinema has been explored in depth since the first incipient manifestations of (non-interactive) cinema. If our first attempts at creating interactive experiences out of narrative, linear film objects have been notoriously clunky and awkward, with the birth of videogames new attempts have been made, bringing fresh ideas and possibilities unto the table. Interactive works that include films as objects are common today. However, interactive cinema as a concept appears to have been abandoned.Cinema continues to be largely non interactive, this dimension seemingly relegated to videogames, apps and websites. We consider that some videogames can be considered interactive cinema. The Last of Us is an example that set the trend of mostly linear, narrative games. Other games have explored this model, achieving better and worse results. We propose that these games could be categorized as interactive cinema.In this paper we aim to continue an exploration of this idea - that there can be interesting, elegantly implemented creations we can name interactive cinema - distinguishing them from video games. We analyze two video games in this light, ‘Pentiment and Everything, trying to understand how they relate to, and differ from, classic cinema and the classic video game experience. We will also discuss the exhibition “Mundos Paralelos” (Parallel Worlds), on display at the the 25th edition of the Avanca Film Festival, to understand the cinematic characteristics of the artworks presented. We conclude by proposing that, perhaps, closed categories might not serve us when creating new objects, and that hybridization is beneficial, creative, and should occur.
{"title":"Videogames as Interactive Cinema - New Perspectives","authors":"Sofia Figueiredo, Catarina Carneiro de Sousa","doi":"10.37390/avancacinema.2023.a545","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a545","url":null,"abstract":"The concept of interactive cinema has been explored in depth since the first incipient manifestations of (non-interactive) cinema. If our first attempts at creating interactive experiences out of narrative, linear film objects have been notoriously clunky and awkward, with the birth of videogames new attempts have been made, bringing fresh ideas and possibilities unto the table. Interactive works that include films as objects are common today. However, interactive cinema as a concept appears to have been abandoned.Cinema continues to be largely non interactive, this dimension seemingly relegated to videogames, apps and websites. We consider that some videogames can be considered interactive cinema. The Last of Us is an example that set the trend of mostly linear, narrative games. Other games have explored this model, achieving better and worse results. We propose that these games could be categorized as interactive cinema.In this paper we aim to continue an exploration of this idea - that there can be interesting, elegantly implemented creations we can name interactive cinema - distinguishing them from video games. We analyze two video games in this light, ‘Pentiment and Everything, trying to understand how they relate to, and differ from, classic cinema and the classic video game experience. We will also discuss the exhibition “Mundos Paralelos” (Parallel Worlds), on display at the the 25th edition of the Avanca Film Festival, to understand the cinematic characteristics of the artworks presented. We conclude by proposing that, perhaps, closed categories might not serve us when creating new objects, and that hybridization is beneficial, creative, and should occur.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"81 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450289","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.a531
Moqadassa Sarwari, Abbas Mohammadi
Humans and creatures live by communication. The start moment of existence is the beginning of communication. But communication has taken different forms in different eras. Communication may be visual, auditory or sensory. In the world of beings, one of these communication methods is used as needed. In the field of visual communication, one of the most important parts is communication through images. This type of communication has been formed since the early times of human existence. Its signs are also petroglyphs that have been found in caves since the past centuries. This relationship changed shape in different eras and turned into painting, photography, and then into cinema and television images.Apart from being an art, cinema is an audio-visual medium that uses a combination of other arts to communicate with the audience. Nowadays, it is used in various ways to establish a communication bridge between cinema producers and social audiences. Because with it, they can convey the content they want to their audience. In essence, cinema is a bridge between the film producer and the target audience. But the type of use of this powerful and effective tool is different. In European and American countries, which are the founders of this means of communication, they use it well. But in the countries of the third world, especially the countries of the Middle East, especially Afghanistan, they could not use this magical tool to establish communication in order to change their society. The reason is the lack of sufficient knowledge of psychology, sociology, cultural studies and cinema technology and the power of image art to optimally use this means of mass communication.
{"title":"The effect of cinema on human social behavior","authors":"Moqadassa Sarwari, Abbas Mohammadi","doi":"10.37390/avancacinema.2023.a531","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a531","url":null,"abstract":"Humans and creatures live by communication. The start moment of existence is the beginning of communication. But communication has taken different forms in different eras. Communication may be visual, auditory or sensory. In the world of beings, one of these communication methods is used as needed. In the field of visual communication, one of the most important parts is communication through images. This type of communication has been formed since the early times of human existence. Its signs are also petroglyphs that have been found in caves since the past centuries. This relationship changed shape in different eras and turned into painting, photography, and then into cinema and television images.Apart from being an art, cinema is an audio-visual medium that uses a combination of other arts to communicate with the audience. Nowadays, it is used in various ways to establish a communication bridge between cinema producers and social audiences. Because with it, they can convey the content they want to their audience. In essence, cinema is a bridge between the film producer and the target audience. But the type of use of this powerful and effective tool is different. In European and American countries, which are the founders of this means of communication, they use it well. But in the countries of the third world, especially the countries of the Middle East, especially Afghanistan, they could not use this magical tool to establish communication in order to change their society. The reason is the lack of sufficient knowledge of psychology, sociology, cultural studies and cinema technology and the power of image art to optimally use this means of mass communication.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"80 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450297","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.a483
Eliane Gordeeff
{"title":"The Dual Path of Cinema Between Real and Fantastic Fiction","authors":"Eliane Gordeeff","doi":"10.37390/avancacinema.2023.a483","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a483","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"23 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450402","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.a547
Yen-Jung Chang, Hsin-Chien Huang, Yuting Hsueh
This communication depicts the evolution and transmedia of science fiction content inspired by the immigration and land reclamation history of early Hakka people who arrived in Taiwan from China in the 17th century for technology art works, including a dancing performance that combines virtual and real dancers in real-time, as well as an augmented reality exhibition. For early determined cooperation, the project was set to be related to Hakka culture. The Hakka are one of two major ethnic groups of Han Chinese immigrants who arrived in Taiwan around the 17th century, after the Hokkien, the other major ethnic group of Han Chinese. The history of Hakka immigration and reclamation, as well as the conflict between Hakka, Hokkien, and indigenous people in Taiwan, were found to be intriguing enough to be adapted into a science fiction scenario, with the consideration of how similar the situation will be in the future when human interplanetary immigrants arrive on a new distant planet, a metaphor for the Hakka people. The story of conflict and cooperation between new immigrants, previous settlers, and original inhabitants possibly echo the collective memory of ethnic groups in eastern Asia. Furthermore, the sci-fi scenarios are expanded and adapted as a novel and manga in text and graphic form based on scientific knowledge, in keeping with the current transmedia trend in the entertainment industry.
{"title":"ASOMROF: A Transmedia Project of Sci-Fi Content Inspied by the Local Ethnic History for Technology Art Works","authors":"Yen-Jung Chang, Hsin-Chien Huang, Yuting Hsueh","doi":"10.37390/avancacinema.2023.a547","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a547","url":null,"abstract":"This communication depicts the evolution and transmedia of science fiction content inspired by the immigration and land reclamation history of early Hakka people who arrived in Taiwan from China in the 17th century for technology art works, including a dancing performance that combines virtual and real dancers in real-time, as well as an augmented reality exhibition. For early determined cooperation, the project was set to be related to Hakka culture. The Hakka are one of two major ethnic groups of Han Chinese immigrants who arrived in Taiwan around the 17th century, after the Hokkien, the other major ethnic group of Han Chinese. The history of Hakka immigration and reclamation, as well as the conflict between Hakka, Hokkien, and indigenous people in Taiwan, were found to be intriguing enough to be adapted into a science fiction scenario, with the consideration of how similar the situation will be in the future when human interplanetary immigrants arrive on a new distant planet, a metaphor for the Hakka people. The story of conflict and cooperation between new immigrants, previous settlers, and original inhabitants possibly echo the collective memory of ethnic groups in eastern Asia. Furthermore, the sci-fi scenarios are expanded and adapted as a novel and manga in text and graphic form based on scientific knowledge, in keeping with the current transmedia trend in the entertainment industry.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"37 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449562","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.a481
Karen Acioly, Cristina Rego Monteiro da Luz
{"title":"Pílulas de ópera para crianças – minidocumentários para a sensibilização de pais e professores","authors":"Karen Acioly, Cristina Rego Monteiro da Luz","doi":"10.37390/avancacinema.2023.a481","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a481","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"37 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449612","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.a552
Petra Dominková
While at first sight, there is not much in common between the genre of melodrama (or romance) and film noir, there are films that may fit into both categories. My presentation will focus on how is it even possible when, for instance, the requirements for the female characters are radically different between melodrama and nfilm noir. On one hand, we need a woman that – quite necessarily – suffers and is being manipulated by others (melodrama; as discussed, for instance by Sarah Kozloff in Overhearing Film Dialogue) while on the other we have a woman that is often a leading character and is the one that manipulates others (nfilm noir). Besides that, while melodrama is focused on romantic relationships and/or family life, it is something that is mostly missing from film noir. But still, we may argue that there are films that may be understood as “melodrama noir.” The following paper will focus mostly on two case studies: Beyond the Forest (King Vidor, 1949), and Leave Her for Heaven (John M. Stahl, 1945) that will prove different approaches to this unique mixture of two genres (provided we understand nfilm noir as a genre, that is problematic, and might be a presentation on its own).
乍看之下，情节剧（或爱情片）与黑色电影之间并无太多共同之处，但有些电影却可能同时属于这两种类型。我的演讲将重点讨论，例如，当情节剧和黑色电影对女性角色的要求完全不同时，如何才能做到这一点。一方面，我们需要一个受苦受难、受人摆布的女性（情节剧；如 Sarah Kozloff 在《倾听电影对话》一书中所讨论的），而另一方面，我们需要的女性往往是主角，是摆布他人的那个人（黑色电影）。此外，虽然情节剧侧重于浪漫关系和/或家庭生活，但这在黑色电影中大多是缺失的。但我们仍然可以说，有些电影可以被理解为 "黑色情节剧"。以下论文将主要关注两个案例研究：森林之外》（King Vidor，1949 年）和《把她留给天堂》（John M. Stahl，1945 年）这两部影片将以不同的方式证明这种独特的两种流派的混合（如果我们将黑色电影理解为一种流派的话，那就有问题了，可能需要单独介绍）。
{"title":"Melodrama noir: Beyond the Forest and Leave Her To Heaven","authors":"Petra Dominková","doi":"10.37390/avancacinema.2023.a552","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a552","url":null,"abstract":"While at first sight, there is not much in common between the genre of melodrama (or romance) and film noir, there are films that may fit into both categories. My presentation will focus on how is it even possible when, for instance, the requirements for the female characters are radically different between melodrama and nfilm noir. On one hand, we need a woman that – quite necessarily – suffers and is being manipulated by others (melodrama; as discussed, for instance by Sarah Kozloff in Overhearing Film Dialogue) while on the other we have a woman that is often a leading character and is the one that manipulates others (nfilm noir). Besides that, while melodrama is focused on romantic relationships and/or family life, it is something that is mostly missing from film noir. But still, we may argue that there are films that may be understood as “melodrama noir.” The following paper will focus mostly on two case studies: Beyond the Forest (King Vidor, 1949), and Leave Her for Heaven (John M. Stahl, 1945) that will prove different approaches to this unique mixture of two genres (provided we understand nfilm noir as a genre, that is problematic, and might be a presentation on its own).","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"17 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449699","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.a497
José Quinta Ferreira
{"title":"From the beginning of Cinema in Portugal to the construction of a production model in the silent period of the film industry in Northern Portugal","authors":"José Quinta Ferreira","doi":"10.37390/avancacinema.2023.a497","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a497","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"14 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449712","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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