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.a470
Rui Filipe Antunes, Carlos Nicolau Antunes
{"title":"A Cinematic Perspective on the Walk Immemorial - Steps in Captivity","authors":"Rui Filipe Antunes, Carlos Nicolau Antunes","doi":"10.37390/avancacinema.2023.a470","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a470","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"94 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450318","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.a484
Carla Patrícia Oliveira de Souza
{"title":"Os Cenários Assombrados de Amorteamo (2015) no olhar da Semiótica da Cultura","authors":"Carla Patrícia Oliveira de Souza","doi":"10.37390/avancacinema.2023.a484","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a484","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"44 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449377","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.a525
Monica Rodrigues Klemz
{"title":"Official Video of The Qatar World Cup: A Cartographic Montage","authors":"Monica Rodrigues Klemz","doi":"10.37390/avancacinema.2023.a525","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a525","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"15 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449709","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.a520
Teresa Maia e Carmo
{"title":"Literacia fílmica com estudantes de multimédia no ensino superior: um estudo de caso","authors":"Teresa Maia e Carmo","doi":"10.37390/avancacinema.2023.a520","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a520","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"2 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449968","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.a485
Marcia Mansur
“Cine Rabeca” is a documentary that expands onto the stage and blends live music with ethnographic archive. It is a cine-concert, where musicians Luiz Paixão and Renata Rosa are permanently on stage, dialoguing with their own filmic memories. During the performance, a new time is composed out of what is seen, heard and imagined. The passage of time is felt in the contrast between images of the rural world of Pernambuco, Brazil, in 1990-2000 and the image of the presence of the musicians on stage. In this cinematographic re-encounter with their trajectories, Paixão and Rosa improvise with their rabecas (fiddles) and recreate themselves. Through music, they circulate amongst rural and ancestral festivities and the narrative is permeated with the language of memory, which explores traces and reminiscences.Time and memory articulate themselves in a singular space that experiments with a form of collaboration between the languages of music, film, and anthropology. This paper explores the process of making this expanded documentary and how it has remained live during the last years, constantly transforming itself amongst the borders of the stage and the screen, between life and film. It shows a process of unfinishing that transcends the finalization of documentaries; of the very life that follows ethnographic recordings.
"Cine Rabeca "是一部纪录片，它将现场音乐与人种学档案融合在一起，并延伸到舞台上。这是一场电影音乐会，音乐家 Luiz Paixão 和 Renata Rosa 永远站在舞台上，与自己的电影记忆对话。在演出过程中，所见、所闻和所想构成了一个新的时间。1990-2000 年巴西伯南布哥州乡村世界的影像与舞台上音乐家们的身影形成鲜明对比，让人感受到时间的流逝。在这部电影中，Paixão 和 Rosa 用他们的拉贝卡（小提琴）即兴演奏，重现自己的轨迹。通过音乐，他们在乡村和祖先的节庆活动中穿梭，叙事中渗透着记忆语言，探索着痕迹和回忆。时间和记忆在一个独特的空间中相互交融，尝试着音乐、电影和人类学语言之间的合作形式。本文探讨了这部扩展纪录片的制作过程，以及它在过去几年中如何保持活力，在舞台与银幕、生活与电影之间不断自我转换。它展示了一个未完成的过程，超越了纪录片的最终完成；展示了人种学记录之后的生活本身。
{"title":"The montage of “Cine Rabeca”: music, memory and ethnography in an expanded cinema experience.","authors":"Marcia Mansur","doi":"10.37390/avancacinema.2023.a485","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a485","url":null,"abstract":"“Cine Rabeca” is a documentary that expands onto the stage and blends live music with ethnographic archive. It is a cine-concert, where musicians Luiz Paixão and Renata Rosa are permanently on stage, dialoguing with their own filmic memories. During the performance, a new time is composed out of what is seen, heard and imagined. The passage of time is felt in the contrast between images of the rural world of Pernambuco, Brazil, in 1990-2000 and the image of the presence of the musicians on stage. In this cinematographic re-encounter with their trajectories, Paixão and Rosa improvise with their rabecas (fiddles) and recreate themselves. Through music, they circulate amongst rural and ancestral festivities and the narrative is permeated with the language of memory, which explores traces and reminiscences.Time and memory articulate themselves in a singular space that experiments with a form of collaboration between the languages of music, film, and anthropology. This paper explores the process of making this expanded documentary and how it has remained live during the last years, constantly transforming itself amongst the borders of the stage and the screen, between life and film. It shows a process of unfinishing that transcends the finalization of documentaries; of the very life that follows ethnographic recordings. ","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"87 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450117","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.a498
Amin Mokhtari, Farzad Khoshnoodan
After the covid-19 pandemic and its impact, the movie industry faced the challenge of theaters shutting down and the audience migrating to evergrowing VOD platforms. However, these problems seem to be the new normal of the industry and would still be a presiding presence even after returning to normalcy.In this research, the production and distribution processes and the impact of the pandemic on them in the past two years have been analyzed. The study inspects the financial decline of the industry in the past few years compared to the massive growth of streaming services and how these numbers compare against each other, and what could be interpreted from them.The research has been done to uncover how the covid-19 virus has acted as a disrupter to the industry, how it propelled innovation through unseen strategies, and how the film business could adapt and survive the growing changes with stress factors it faces. This paper tries to evaluate the shape of the movie industry in the post-corona era and how some changes will be a permanent staple of the field to adapt to the surge in VOD platforms and streaming services and the audience’s preference for the stay at-home movie experience.
{"title":"In-depth analysis of challenges facing the movie industry in the pandemic era and its competition with VOD platforms","authors":"Amin Mokhtari, Farzad Khoshnoodan","doi":"10.37390/avancacinema.2023.a498","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a498","url":null,"abstract":"After the covid-19 pandemic and its impact, the movie industry faced the challenge of theaters shutting down and the audience migrating to evergrowing VOD platforms. However, these problems seem to be the new normal of the industry and would still be a presiding presence even after returning to normalcy.In this research, the production and distribution processes and the impact of the pandemic on them in the past two years have been analyzed. The study inspects the financial decline of the industry in the past few years compared to the massive growth of streaming services and how these numbers compare against each other, and what could be interpreted from them.The research has been done to uncover how the covid-19 virus has acted as a disrupter to the industry, how it propelled innovation through unseen strategies, and how the film business could adapt and survive the growing changes with stress factors it faces. This paper tries to evaluate the shape of the movie industry in the post-corona era and how some changes will be a permanent staple of the field to adapt to the surge in VOD platforms and streaming services and the audience’s preference for the stay at-home movie experience.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"54 9","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449946","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.a544
Cyril Lepot
As a stop motion specialist I tend to think it less as a relic than as a persisting medium, especially since this kind of production is still vivid in the film industry but also because I think some practices, or ways to use the medium are still not cleared because they are only considered as effects, not as an entire way of making a whole film.On the one hand it’s not only about theorizing but opening up new fields and developments based on what has already been done, sometimes unconsciously by artists. On the other hand we also feel the urge to free ourselves from discourses and practical tips given by the animators themselves. Most of the time stop motion animators are engaged in an empirical process leading them to a no less empirical knowledge. I myself discussed it with Patar and Aubier from the Beast animation fame and they don’t have much clue they are promptly and punctually disguising, transfiguring and thus transmuting matter, they only think in terms of material and technic limitations and how hint (or elaborated tricks) can help them solving it when trying to convey something on screen.That’s why we would like to engage ourselves into a physics-based analysis that would be a real asset to assert, didactically, what cause leads to what effects when animated one way or another, for example, exactly what kind of material can be used and what kind of manipulation or substitution leads to that effect of matter.
{"title":"Understanding the empirical process of animating to open up the field of stop motion analog simulation","authors":"Cyril Lepot","doi":"10.37390/avancacinema.2023.a544","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a544","url":null,"abstract":"As a stop motion specialist I tend to think it less as a relic than as a persisting medium, especially since this kind of production is still vivid in the film industry but also because I think some practices, or ways to use the medium are still not cleared because they are only considered as effects, not as an entire way of making a whole film.On the one hand it’s not only about theorizing but opening up new fields and developments based on what has already been done, sometimes unconsciously by artists. On the other hand we also feel the urge to free ourselves from discourses and practical tips given by the animators themselves. Most of the time stop motion animators are engaged in an empirical process leading them to a no less empirical knowledge. I myself discussed it with Patar and Aubier from the Beast animation fame and they don’t have much clue they are promptly and punctually disguising, transfiguring and thus transmuting matter, they only think in terms of material and technic limitations and how hint (or elaborated tricks) can help them solving it when trying to convey something on screen.That’s why we would like to engage ourselves into a physics-based analysis that would be a real asset to assert, didactically, what cause leads to what effects when animated one way or another, for example, exactly what kind of material can be used and what kind of manipulation or substitution leads to that effect of matter.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449952","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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