Pub Date : 2024-01-05DOI: 10.37390/avancacinema.2023.a502
Edmundo Cordeiro
{"title":"Cinema português e saúde mental: Clínica e estética — uma proposta de investigação","authors":"Edmundo Cordeiro","doi":"10.37390/avancacinema.2023.a502","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a502","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450445","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.a546
Narce Dalia Ruiz Guzmán
{"title":"Adult film industry leading the movie making into the AI","authors":"Narce Dalia Ruiz Guzmán","doi":"10.37390/avancacinema.2023.a546","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a546","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"20 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450446","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.a524
Gregorio Galvão de Albuquerque
{"title":"“É você?”: a criação para si e para os outros","authors":"Gregorio Galvão de Albuquerque","doi":"10.37390/avancacinema.2023.a524","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a524","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"6 4","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139536108","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.a500
Elahe Saberi
Classical narrative structure introduces specific principles and features to keep the audience engaged with the film. Modern, nonlinear narrative structures, however, provide their own techniques and tools in this sense. They can be utilized in animated short films to develop anticipation and suspense. The majority of animated short films are still focusing on classical narrative principles which only allows chronological order of time and sequence of events. Yet, a considerable potential of applying various nonlinear structures can be addressed when it comes to modern storytelling in animation. Consequently, filmmakers are able to increase suspense by solely adopting such variations. This paper discusses nonlinear narrative structures in five animated short films, “If anything happens I love you” (2021), “Alma” (2009), “Skhizein” (2008), “The house of small cubes” (2008) and “Maestro” (2005), and the way they suggest increased suspense by deviating from classical narrative principles. The present paper explains such potential by relying on David Bordwell theories, where he put an emphasis on important aspects of nonlinear narratives such as time, order, duration and frequency in particular. This paper argues that not only applying nonlinear structures are viable in the context of animated short films, different variations can be utilized as a powerful, innovative and beneficial tool in order to grab and hold the audience’s attention without having to concentrate on an excessively complicated timeline in the story.
{"title":"Modern narrative structure in animated short films: a tool to increase suspense","authors":"Elahe Saberi","doi":"10.37390/avancacinema.2023.a500","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a500","url":null,"abstract":"Classical narrative structure introduces specific principles and features to keep the audience engaged with the film. Modern, nonlinear narrative structures, however, provide their own techniques and tools in this sense. They can be utilized in animated short films to develop anticipation and suspense. The majority of animated short films are still focusing on classical narrative principles which only allows chronological order of time and sequence of events. Yet, a considerable potential of applying various nonlinear structures can be addressed when it comes to modern storytelling in animation. Consequently, filmmakers are able to increase suspense by solely adopting such variations. This paper discusses nonlinear narrative structures in five animated short films, “If anything happens I love you” (2021), “Alma” (2009), “Skhizein” (2008), “The house of small cubes” (2008) and “Maestro” (2005), and the way they suggest increased suspense by deviating from classical narrative principles. The present paper explains such potential by relying on David Bordwell theories, where he put an emphasis on important aspects of nonlinear narratives such as time, order, duration and frequency in particular. This paper argues that not only applying nonlinear structures are viable in the context of animated short films, different variations can be utilized as a powerful, innovative and beneficial tool in order to grab and hold the audience’s attention without having to concentrate on an excessively complicated timeline in the story.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"13 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139536178","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 : 2022-09-21DOI: 10.37390/avancacinema.2022.a398
José Duarte
As the outcome of a singular incursion into a rural Portugal during the fragile moment of the 2010-2014 economic crisis, Volta à Terra ([Belonging], João Pedro Plácido, 2014) presents itself as a curious film about memories and materiality and, above all, about a journey on the past and the present, on different times, places and landscapes, and on staying and leaving. The desires expressed by the few inhabitants of Uz (a village with 49 inhabitants) are registered here through the unique look of the director, who develops a work that oscillates between documentary and fiction and between “poetry and brutality”. Bearing this in mind, this work will develop a detailed analysis of some of the central aspects of the film, specifically on the idea of journey.
在2010-2014年经济危机的脆弱时刻，作为对葡萄牙农村的一次独特入侵的结果，Volta Terra([归属]，jo o Pedro Plácido, 2014)将自己呈现为一部关于记忆和物质性的好奇电影，最重要的是，关于过去和现在，不同时间，地点和景观，以及留下和离开的旅程。乌兹村(一个拥有49名居民的村庄)的少数居民所表达的愿望通过导演的独特视角在这里得到了体现，他的作品在纪录片和小说之间，在“诗歌和残忍”之间摇摆。考虑到这一点，这项工作将对电影的一些核心方面进行详细的分析，特别是关于旅行的想法。
{"title":"Dos Regressos","authors":"José Duarte","doi":"10.37390/avancacinema.2022.a398","DOIUrl":"https://doi.org/10.37390/avancacinema.2022.a398","url":null,"abstract":"As the outcome of a singular incursion into a rural Portugal during the fragile moment of the 2010-2014 economic crisis, Volta à Terra ([Belonging], João Pedro Plácido, 2014) presents itself as a curious film about memories and materiality and, above all, about a journey on the past and the present, on different times, places and landscapes, and on staying and leaving. The desires expressed by the few inhabitants of Uz (a village with 49 inhabitants) are registered here through the unique look of the director, who develops a work that oscillates between documentary and fiction and between “poetry and brutality”. Bearing this in mind, this work will develop a detailed analysis of some of the central aspects of the film, specifically on the idea of journey.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127492185","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 : 2022-09-21DOI: 10.37390/avancacinema.2022.a399
Rosário Santana, Helena Maria Da Silva Santana
The Carnival of the Animals is a piece for two pianos and orchestra written by Camille Saint-Saëns. It was composed in February 1886, when the composer was on vacation in a small village in Austria. The piece, far from being an innocent musical piece, appears as a social, political and artistic satire. The composer’s objective was to criticize the Parisian musical environment at the end of the 19th century.From the analysis of “Bugs and Daffy’s Carnival of the Animals by Camille Saint-Saëns”, produced, written and directed by Chuck Jones in 1976 -, we want to understand how the musical work defines the narrative contents of the animated film. In another, in this filmic proposal, the visual component that is built from two characters of animation cinema, Bugs Bunny and Daffy Duck, appears as a link with other form of arts, especially music, in order to clarify the various discursive plans that compete there. The narrative overlaps two planes, the real and the animated one. In another, it reflects, through a fictionalized narrative, a sharp critique of French society at the beginning of the 20th century. So, by its analysis, we expect to understand the contribution brought by the simultaneous use of the real and the fictional plans in order to shape the filmic object.
《动物的狂欢节》是卡米尔Saint-Saëns为两架钢琴和管弦乐队创作的作品。这首歌创作于1886年2月，当时作曲家正在奥地利的一个小村庄度假。这不是一部单纯的音乐作品，而是对社会、政治和艺术的讽刺。作曲家的目的是批评19世纪末巴黎的音乐环境。通过对1976年由查克·琼斯制作、编剧和导演的《兔八哥和达菲的动物狂欢节》(Camille 's Carnival of the Animals)的分析，我们想了解音乐作品是如何定义动画电影的叙事内容的。在另一种情况下，在这个电影提案中，由动画电影中的两个角色，兔八哥和达菲鸭建立的视觉成分，作为与其他形式的艺术，特别是音乐的联系，以澄清在那里竞争的各种话语计划。叙事重叠了两个层面，真实的和动画的。另一方面，它通过一种虚构的叙事，反映了对20世纪初法国社会的尖锐批评。因此，通过对它的分析，我们期望了解真实和虚构的平面图同时使用对电影对象的塑造所带来的贡献。
{"title":"Entre a ficção e a realidade: o caso particular da curta-metragem “Bugs and Daffy’s Carnival of the Animals by Camille Saint-Saëns” (1976) de Chuck Jones","authors":"Rosário Santana, Helena Maria Da Silva Santana","doi":"10.37390/avancacinema.2022.a399","DOIUrl":"https://doi.org/10.37390/avancacinema.2022.a399","url":null,"abstract":"The Carnival of the Animals is a piece for two pianos and orchestra written by Camille Saint-Saëns. It was composed in February 1886, when the composer was on vacation in a small village in Austria. The piece, far from being an innocent musical piece, appears as a social, political and artistic satire. The composer’s objective was to criticize the Parisian musical environment at the end of the 19th century.From the analysis of “Bugs and Daffy’s Carnival of the Animals by Camille Saint-Saëns”, produced, written and directed by Chuck Jones in 1976 -, we want to understand how the musical work defines the narrative contents of the animated film. In another, in this filmic proposal, the visual component that is built from two characters of animation cinema, Bugs Bunny and Daffy Duck, appears as a link with other form of arts, especially music, in order to clarify the various discursive plans that compete there. The narrative overlaps two planes, the real and the animated one. In another, it reflects, through a fictionalized narrative, a sharp critique of French society at the beginning of the 20th century. So, by its analysis, we expect to understand the contribution brought by the simultaneous use of the real and the fictional plans in order to shape the filmic object.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122583698","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 : 2022-09-21DOI: 10.37390/avancacinema.2022.a411
Pâmela Eurídice da Silva Beleza Baltazar, Selda Vale da Costa
When watching a film, the spectator is faced with multiple perspectives, three of which stand out: that of the director - projected by the camera -, that of the protagonist of the narrative and his own. These perspectives guide the way a work is absorbed by the public and, consequently, how the author/director’s worldview is established in his filmography. For the feminist theorist bell hooks, the gaze has a power that invites from resistance to opening to other interpretative margins. Such elements are interesting for the understanding of characteristics of certain cinematographic constructions and, also, for the perception of how an alternative cinema presents itself from that. With this assumption, this article seeks to discuss how the elements of the classic narrative look and the opposing look are present in the cinema made in Amazonas in the last decade, henceforth the observation of two Amazonian films directed by women: “Strip Solitude” (2013, 20min), by Flávia Abtibol, and “Assim” (2013, 13min), by Keila Serruya Sankofa.
{"title":"Perspectivas: uma excursão pelo cinema feito por mulheres no Amazonas","authors":"Pâmela Eurídice da Silva Beleza Baltazar, Selda Vale da Costa","doi":"10.37390/avancacinema.2022.a411","DOIUrl":"https://doi.org/10.37390/avancacinema.2022.a411","url":null,"abstract":"When watching a film, the spectator is faced with multiple perspectives, three of which stand out: that of the director - projected by the camera -, that of the protagonist of the narrative and his own. These perspectives guide the way a work is absorbed by the public and, consequently, how the author/director’s worldview is established in his filmography. For the feminist theorist bell hooks, the gaze has a power that invites from resistance to opening to other interpretative margins. Such elements are interesting for the understanding of characteristics of certain cinematographic constructions and, also, for the perception of how an alternative cinema presents itself from that. With this assumption, this article seeks to discuss how the elements of the classic narrative look and the opposing look are present in the cinema made in Amazonas in the last decade, henceforth the observation of two Amazonian films directed by women: “Strip Solitude” (2013, 20min), by Flávia Abtibol, and “Assim” (2013, 13min), by Keila Serruya Sankofa.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"230 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123037243","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 : 2022-09-21DOI: 10.37390/avancacinema.2022.a463
Narce Dalia Ruiz Guzmán
Implementing sustainable practices in the shooting of a film, although it is not a new practice, has not been widespread in the shooting process. The short film production at the university, although brief, does not always comply with an environmentally friendly vision. This paper seeks to expose the importance of thinking and creating a sustainable shoot, in addition to considering the figure of the eco-manager or greener and what are some good practices to take into account in audiovisual shootings, in addition to the relevance of taking these measures from the academy, so that the new generations effectively have these terms integrated and become a common practice in the near future.
{"title":"Ecological Cinema with best practices and reducing environmental impact","authors":"Narce Dalia Ruiz Guzmán","doi":"10.37390/avancacinema.2022.a463","DOIUrl":"https://doi.org/10.37390/avancacinema.2022.a463","url":null,"abstract":"Implementing sustainable practices in the shooting of a film, although it is not a new practice, has not been widespread in the shooting process. The short film production at the university, although brief, does not always comply with an environmentally friendly vision. This paper seeks to expose the importance of thinking and creating a sustainable shoot, in addition to considering the figure of the eco-manager or greener and what are some good practices to take into account in audiovisual shootings, in addition to the relevance of taking these measures from the academy, so that the new generations effectively have these terms integrated and become a common practice in the near future.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130356214","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 : 2022-09-21DOI: 10.37390/avancacinema.2022.a455
Alexandre Catarino Oliveira Martins
This article intends to carry out a brief analytical and critical synthesis and reflection on the methods and investigation strategies native to the field of research based on artistic practice. Methods that will be later applied during the conception of the project to organize and disseminate the documentary heritage of the film essayist Fernando Gonçalves Lavrador, transferred to Cine-Clube de Avanca in 2021. Besides the production of a digital archive built with the purpose of presenting the works and memories of Fernando Lavrador to the public, this initiative will also entail the creation of a set of digital and (audio)visual artworks, using the methodologies, concepts, and languages inherent to the fields of Video Art, Cinema and Experimental Poetry.
{"title":"Memórias em movimento: a criação de videoarte através do arquétipo antropológico e dos modelos a/r/tográfico e a/r/cográfico","authors":"Alexandre Catarino Oliveira Martins","doi":"10.37390/avancacinema.2022.a455","DOIUrl":"https://doi.org/10.37390/avancacinema.2022.a455","url":null,"abstract":"This article intends to carry out a brief analytical and critical synthesis and reflection on the methods and investigation strategies native to the field of research based on artistic practice. Methods that will be later applied during the conception of the project to organize and disseminate the documentary heritage of the film essayist Fernando Gonçalves Lavrador, transferred to Cine-Clube de Avanca in 2021. Besides the production of a digital archive built with the purpose of presenting the works and memories of Fernando Lavrador to the public, this initiative will also entail the creation of a set of digital and (audio)visual artworks, using the methodologies, concepts, and languages inherent to the fields of Video Art, Cinema and Experimental Poetry.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129283303","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 : 2022-09-21DOI: 10.37390/avancacinema.2022.a441
Marcos De Bona de Carvalho
The article will discuss the trajectories of young women filmmakers who, with access to the backstage of power, made films about important events in the histories of Germany and Brazil.In 1935 Leni Riefenstahl launches The Triumph of the Will, using her proximity to Nazi leaders and Hitler himself. The same ones who deliver inflammatory speeches captured by the filmmaker applying innovative techniques that made her a reference in the world of cinema. But the World War II provoked a career turn for Riefenstahl, who later tries to hide his involvement with Nazism.In 2020 The Edge of Democracy is nominated for an Oscar for best documentary. The proximity of director Petra Costa to power also helped to highlight her film among others made about the impeachment process of Dilma Rousseff, who gives exclusive testimonies and is captured at intimacy moments by Petra. Intertwining the history of corruption of the construction companies that prospered during the military dictatorship in Brazil with recent events, Petra (granddaughter of a contractor) portrays the growing abyss that divides the country putting its democracy in jeopardy. The title of the film is prophetic, considering events that happened during the Bolsonaro government, which benefited from Dilma’s impeachment.Based on texts by Susan Sontag (Under the Sign of Saturn) and on articles from the Brazilian magazines Veja and Piauí, I will analyze the relationship of the filmmakers with their films and their times. Demonstrating that, despite having opposed political ideologies, their trajectories have several points of mirroring.
{"title":"Biografias em Vertigem: As Trajetórias de Petra Costa e Leni Riefenstahl","authors":"Marcos De Bona de Carvalho","doi":"10.37390/avancacinema.2022.a441","DOIUrl":"https://doi.org/10.37390/avancacinema.2022.a441","url":null,"abstract":"The article will discuss the trajectories of young women filmmakers who, with access to the backstage of power, made films about important events in the histories of Germany and Brazil.In 1935 Leni Riefenstahl launches The Triumph of the Will, using her proximity to Nazi leaders and Hitler himself. The same ones who deliver inflammatory speeches captured by the filmmaker applying innovative techniques that made her a reference in the world of cinema. But the World War II provoked a career turn for Riefenstahl, who later tries to hide his involvement with Nazism.In 2020 The Edge of Democracy is nominated for an Oscar for best documentary. The proximity of director Petra Costa to power also helped to highlight her film among others made about the impeachment process of Dilma Rousseff, who gives exclusive testimonies and is captured at intimacy moments by Petra. Intertwining the history of corruption of the construction companies that prospered during the military dictatorship in Brazil with recent events, Petra (granddaughter of a contractor) portrays the growing abyss that divides the country putting its democracy in jeopardy. The title of the film is prophetic, considering events that happened during the Bolsonaro government, which benefited from Dilma’s impeachment.Based on texts by Susan Sontag (Under the Sign of Saturn) and on articles from the Brazilian magazines Veja and Piauí, I will analyze the relationship of the filmmakers with their films and their times. Demonstrating that, despite having opposed political ideologies, their trajectories have several points of mirroring.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121198204","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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