Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a471
Sílvia Pinto Coelho
{"title":"Choreography and Cinema #1: after the choreographic work of Cathy Weis","authors":"Sílvia Pinto Coelho","doi":"10.37390/avancacinema.2023.a471","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a471","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"22 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450011","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.a536
Francisco Malta, T. Barboza
{"title":"TRUE CRIME: Era uma vez um crime","authors":"Francisco Malta, T. Barboza","doi":"10.37390/avancacinema.2023.a536","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a536","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"83 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450224","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.a490
Camilo Cavalcante
{"title":"Why do flowers die? - A música brasileira e ango-saxônica no tríptico As Mil e Uma Noites (2015), de Miguel Gomes","authors":"Camilo Cavalcante","doi":"10.37390/avancacinema.2023.a490","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a490","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"78 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450343","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.a512
Gordana Smudja
Necessary feedback in understanding the phenomenon of westerns is certainly the social background that is closely related to the myth of westerns from its beginnings until the decline of westerns in the seventies. America, as we see it in westerns, is a picture of a mass exodus of people who wanted more, often those for whom the old homeland had become cramped and insufficient. It is in this environment that we see the heroes of the Western empowered in the desire for individualization. In the USA, the western used to be a large part of the entire production, and its popularity was transferred to other continents (Europe, Australia and Asia). An interesting fact is that the western myth does not have its beginnings in western films, although they are not only his strongest and most persistent accomplices but also the strongest populist weapon for telling folk legends such as the ones about Wild Bill Hickock, Calamity Jane, Wyatt Earp, Doc Holliday or Billy the Kid who become the heroes of these legends. Even before the invention of cinema and Porter’s The Great Train Robbery (1903), considered by many to be the first western film, Western literature was represented, but in the form of cheap books glorifying groups of conquerors of distant wilderness. However, what the heroes of the western persistently carry with them from the old homeland are the laws. They try to turn their new environment into a socially organized one, to turn the “desert into a flower”.
{"title":"Western Myth","authors":"Gordana Smudja","doi":"10.37390/avancacinema.2023.a512","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a512","url":null,"abstract":"Necessary feedback in understanding the phenomenon of westerns is certainly the social background that is closely related to the myth of westerns from its beginnings until the decline of westerns in the seventies. America, as we see it in westerns, is a picture of a mass exodus of people who wanted more, often those for whom the old homeland had become cramped and insufficient. It is in this environment that we see the heroes of the Western empowered in the desire for individualization. In the USA, the western used to be a large part of the entire production, and its popularity was transferred to other continents (Europe, Australia and Asia). An interesting fact is that the western myth does not have its beginnings in western films, although they are not only his strongest and most persistent accomplices but also the strongest populist weapon for telling folk legends such as the ones about Wild Bill Hickock, Calamity Jane, Wyatt Earp, Doc Holliday or Billy the Kid who become the heroes of these legends. Even before the invention of cinema and Porter’s The Great Train Robbery (1903), considered by many to be the first western film, Western literature was represented, but in the form of cheap books glorifying groups of conquerors of distant wilderness. However, what the heroes of the western persistently carry with them from the old homeland are the laws. They try to turn their new environment into a socially organized one, to turn the “desert into a flower”.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"29 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449315","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.a541
Manuel Flurin Hendry, Norbert Kottmann, V. Huber, Michael Schaerer, Christian Iseli
Due to the increased availability of computing power, hybrid image production – combining live-action image components with virtual assets – can now be performed in real-time, enabling filmmakers to seamlessly visualize, manipulate and incorporate digital assets into their shooting process. The related novel workflows are commonly referred to as “Virtual Production”. Here, we focus on the use of Virtual Production techniques for cinematic simulation. In 2020, the Zurich University of the Arts created cineDESK, a simulation tool to facilitate the previsualization of film scenes and stimulate the artistic choices of filmmakers. Using cineDESK, directors, cinematographers and production designers can collaboratively explore how space, light, props and acting are translated into cinematic sequences. In educational settings, students benefit from cineDESK’s capacity to explore specific aspects of the filmmaking process in isolation. cineDESK allows them to repeatedly rework their scenes, rearranging and optimizing camera angles and movements, lighting, production design elements and even the appearance of their (virtual) actors. Thus, cineDESK helps filmmakers to develop an idiosyncratic visual language and make informed aesthetic choices without being overwhelmed by the complexities of a real film shoot.
{"title":"Simulate This! Virtual Production and Cinematic Education with cineDESK","authors":"Manuel Flurin Hendry, Norbert Kottmann, V. Huber, Michael Schaerer, Christian Iseli","doi":"10.37390/avancacinema.2023.a541","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a541","url":null,"abstract":"Due to the increased availability of computing power, hybrid image production – combining live-action image components with virtual assets – can now be performed in real-time, enabling filmmakers to seamlessly visualize, manipulate and incorporate digital assets into their shooting process. The related novel workflows are commonly referred to as “Virtual Production”. Here, we focus on the use of Virtual Production techniques for cinematic simulation. In 2020, the Zurich University of the Arts created cineDESK, a simulation tool to facilitate the previsualization of film scenes and stimulate the artistic choices of filmmakers. Using cineDESK, directors, cinematographers and production designers can collaboratively explore how space, light, props and acting are translated into cinematic sequences. In educational settings, students benefit from cineDESK’s capacity to explore specific aspects of the filmmaking process in isolation. cineDESK allows them to repeatedly rework their scenes, rearranging and optimizing camera angles and movements, lighting, production design elements and even the appearance of their (virtual) actors. Thus, cineDESK helps filmmakers to develop an idiosyncratic visual language and make informed aesthetic choices without being overwhelmed by the complexities of a real film shoot.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"44 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449369","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.a540
Francisco-Julián Martínez-Cano
The development of the metaverse and its immersive technologies has had an impact on contemporary filmmaking. Associated with the concept of metaverse are the terms “VR film”, “VR cinema”, “cinematic virtual reality”, and “metaverse film”. As new expressions of digital media, virtual reality (VR) and augmented reality (AR) have become hotbeds of groundbreaking experiments with immersive audiovisual languages that have led to the production of numerous narrative works experiences that combine the real and the virtual using immersive devices.The term ‘metaverse film” could encompass all cinematic practices related to the metaverse, including videos shot in virtual worlds such as VRChat. In a sense, machinima, or films made in the last 15 years using game engines, could therefore be said to be the origin of metaverse films. Similarly, immersive VR audiovisual storytelling is part of the cinematic practices in this emerging metamedium that immerses the viewer in parallel virtual universes and makes them part of the story.Metaverse has a disrupting potential that may add new insights to the way we think of film and storytelling. Following these ideas, we consider relevant not only for the academic field, but also for the industry to frame the “metaverse film”. Using a bibliographic and different catalogs and databases review as well as major XR sections of major film festivals as main methodology, we conducted a research that goes through the immersive audiovisual fiction produced during the last decade, with the aim to set its current state of the art that might help conceptualize the term and all that surrounds fiction and non-fiction experiences of the metamedium.
{"title":"Metaverse film. The rising of immersive audiovisual through disrupting traditional moving image and its conventions","authors":"Francisco-Julián Martínez-Cano","doi":"10.37390/avancacinema.2023.a540","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a540","url":null,"abstract":"The development of the metaverse and its immersive technologies has had an impact on contemporary filmmaking. Associated with the concept of metaverse are the terms “VR film”, “VR cinema”, “cinematic virtual reality”, and “metaverse film”. As new expressions of digital media, virtual reality (VR) and augmented reality (AR) have become hotbeds of groundbreaking experiments with immersive audiovisual languages that have led to the production of numerous narrative works experiences that combine the real and the virtual using immersive devices.The term ‘metaverse film” could encompass all cinematic practices related to the metaverse, including videos shot in virtual worlds such as VRChat. In a sense, machinima, or films made in the last 15 years using game engines, could therefore be said to be the origin of metaverse films. Similarly, immersive VR audiovisual storytelling is part of the cinematic practices in this emerging metamedium that immerses the viewer in parallel virtual universes and makes them part of the story.Metaverse has a disrupting potential that may add new insights to the way we think of film and storytelling. Following these ideas, we consider relevant not only for the academic field, but also for the industry to frame the “metaverse film”. Using a bibliographic and different catalogs and databases review as well as major XR sections of major film festivals as main methodology, we conducted a research that goes through the immersive audiovisual fiction produced during the last decade, with the aim to set its current state of the art that might help conceptualize the term and all that surrounds fiction and non-fiction experiences of the metamedium.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"15 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449707","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.a515
Sílvia R. B. Pinto
{"title":"O cinema como recurso para a desconstrução das práticas pedagógicas","authors":"Sílvia R. B. Pinto","doi":"10.37390/avancacinema.2023.a515","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a515","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"42 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449741","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.a495
Kátia M. L. Mendonça
{"title":"Czeslaw Milosz: Between Testimony and Prophecy","authors":"Kátia M. L. Mendonça","doi":"10.37390/avancacinema.2023.a495","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a495","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"41 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449785","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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