A photograph of a blue drop splashing on a dark background. On the top, the title is set in white serif type forming a loose composition and the generic, uninteresting cover of Shaping the Digital Dissertation (Open Book Publishers, 2021), edited by Virginia Kuhn, Professor of Cinema at the University of Southern California and Anke Finger, Professor of German and Media Studies and Comparative Literary and Cultural Studies at the University of Connecticut.
一张蓝色水滴在黑暗背景上飞溅的照片。在顶部，标题是用白色衬线字体设置的，形成了一个松散的构图，以及由南加州大学电影教授Virginia Kuhn和Anke Finger编辑的《塑造数字论文》（Open Book Publishers，2021）的普通而无趣的封面，康涅狄格大学德语与媒体研究及比较文学与文化研究教授。
{"title":"Shaping the Digital Dissertation - Book Review","authors":"Francisco Laranjo","doi":"10.24140/ijfma.v7.n2.10","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n2.10","url":null,"abstract":"A photograph of a blue drop splashing on a dark background. On the top, the title is set in white serif type forming a loose composition and the generic, uninteresting cover of Shaping the Digital Dissertation (Open Book Publishers, 2021), edited by Virginia Kuhn, Professor of Cinema at the University of Southern California and Anke Finger, Professor of German and Media Studies and Comparative Literary and Cultural Studies at the University of Connecticut.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46429765","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}
A. Barrientos Báez, D. Caldevilla, Manuel Blanco-Pérez
With the irruption of multi-screens that the Netflix era has brought about, a good part of the old visual formulas, especially television and reporter ones, have become outdated. This is especially observable in television formats strongly linked to reporter journalism, such as Spaniards around the world, Street travelers and others. In recent years, a trend of adaptation of cinematographic codes to television products has already been perceived, but the Covid-19 pandemic and the ban on theatrical exhibition in cinemas around the world has precipitated a change in the model of consumption. This article presents an investigation on a nuclear element: the cinematographic colorimetry used in journalistic television programs, specifically, one of the most watched journalistic programs on Spanish television: Lo de Évole.
{"title":"La Colorimetría Cinematográfica Aplicada A Los Nuevos Formatos Periodísticos Televisivos: El Caso del Programa Español Lo de Évole","authors":"A. Barrientos Báez, D. Caldevilla, Manuel Blanco-Pérez","doi":"10.24140/ijfma.v7.n2.09","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n2.09","url":null,"abstract":"With the irruption of multi-screens that the Netflix era has brought about, a good part of the old visual formulas, especially television and reporter ones, have become outdated. This is especially observable in television formats strongly linked to reporter journalism, such as Spaniards around the world, Street travelers and others. In recent years, a trend of adaptation of cinematographic codes to television products has already been perceived, but the Covid-19 pandemic and the ban on theatrical exhibition in cinemas around the world has precipitated a change in the model of consumption. This article presents an investigation on a nuclear element: the cinematographic colorimetry used in journalistic television programs, specifically, one of the most watched journalistic programs on Spanish television: Lo de Évole.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47073225","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}
Rut Martínez-Borda, Iris Barrajón Lara, P. Lacasa Díaz
Digital media expanded the scenarios in which people watch television and the communication contexts where fans comment on their content. This work focuses on the conversations between Spanish speakers that take place on the Internet about the Peaky Blinders TV series. We focus on analysis of the discourse generated from the series’ content in social networks, where spectators converse with one another and on analysis of other, creative practices, which help to develop the transmedia narrative but are generated by the spectators themselves. This is known as fan fiction, cosplay or crossover. We combine big data (Kitchin, 2014), to extract digital texts, and small data to analyze the construction of meanings from the perspective of discourse analysis (Gee, 2014). Big data were collected during the recent premiere of the fifth season in Spain, from 14 March to 15 June 2020 (3 months of which coincided with Covid-19 lockdown).The texts appeared on Twitter, Facebook, and YouTube, as well as in forums, comments, and other digital information. We dynamically defined 268 categories during the data collection stage. This study includes only those that the research team considered were more relevant, facilitating in-depth analysis of the conversations through discourse analysis. The results discuss how participants construct narratives that we interpret from a triple model. First, digital and situated storytelling (Ryan, 2019) through reconstruction of the contents and formats of the series by fans (Lacasa, 2020). Second, digital media and the presence of multi-platforms, which have generated transmedia strategies (Kavoori et al., 2017 (Kavoori, 2017)). The study establishes the relationships between these multiple platforms and how audiences are present there. Third, digital contexts that generate conversations, creating dialogue between cultural industries and TV series followers.
数字媒体扩大了人们观看电视的场景和粉丝评论内容的交流环境。这项工作的重点是在互联网上发生的西班牙语使用者之间关于《剃刀党》电视剧的对话。我们专注于分析社交网络中观众相互交谈的系列内容所产生的话语，并分析其他创造性实践，这些实践有助于发展跨媒体叙事，但却是由观众自己产生的。这就是所谓的同人小说、角色扮演或跨界。我们结合大数据(Kitchin, 2014)提取数字文本，结合小数据从话语分析的角度分析意义的构建(Gee, 2014)。在2020年3月14日至6月15日(其中3个月恰逢新冠肺炎封锁)第五季最近在西班牙首映期间收集了大数据。这些文字出现在Twitter、Facebook和YouTube上，以及论坛、评论和其他数字信息中。我们在数据收集阶段动态定义了268个类别。本研究只包括了研究小组认为更相关的内容，便于通过语篇分析对对话进行深入分析。结果讨论了参与者如何构建我们从三重模型解释的叙述。首先，通过粉丝(Lacasa, 2020)重建剧集的内容和格式，进行数字化和情境叙事(Ryan, 2019)。其次，数字媒体和多平台的存在产生了跨媒体战略(Kavoori et al.， 2017 (Kavoori, 2017))。该研究建立了这些多个平台之间的关系以及用户在这些平台上的呈现方式。第三，产生对话的数字环境，在文化产业和电视剧粉丝之间创造对话。
{"title":"Transmedia Narratives and Social Networks: Peaky Blinders' Television Fiction","authors":"Rut Martínez-Borda, Iris Barrajón Lara, P. Lacasa Díaz","doi":"10.24140/ijfma.v7.n2.03","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n2.03","url":null,"abstract":"Digital media expanded the scenarios in which people watch television and the communication contexts where fans comment on their content. This work focuses on the conversations between Spanish speakers that take place on the Internet about the Peaky Blinders TV series. We focus on analysis of the discourse generated from the series’ content in social networks, where spectators converse with one another and on analysis of other, creative practices, which help to develop the transmedia narrative but are generated by the spectators themselves. This is known as fan fiction, cosplay or crossover. We combine big data (Kitchin, 2014), to extract digital texts, and small data to analyze the construction of meanings from the perspective of discourse analysis (Gee, 2014). Big data were collected during the recent premiere of the fifth season in Spain, from 14 March to 15 June 2020 (3 months of which coincided with Covid-19 lockdown).The texts appeared on Twitter, Facebook, and YouTube, as well as in forums, comments, and other digital information. We dynamically defined 268 categories during the data collection stage. This study includes only those that the research team considered were more relevant, facilitating in-depth analysis of the conversations through discourse analysis. The results discuss how participants construct narratives that we interpret from a triple model. First, digital and situated storytelling (Ryan, 2019) through reconstruction of the contents and formats of the series by fans (Lacasa, 2020). Second, digital media and the presence of multi-platforms, which have generated transmedia strategies (Kavoori et al., 2017 (Kavoori, 2017)). The study establishes the relationships between these multiple platforms and how audiences are present there. Third, digital contexts that generate conversations, creating dialogue between cultural industries and TV series followers.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44371958","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 : 2022-12-13DOI: 10.24140/ijfma.v7.n2.edit
José Bragança de Miranda, C. Quico, José Gomes Pinto, Luís Cláudio Ribeiro
This International Journal of Film and Media Arts’ (IJFMA) issue is built upon a selection of papers that were presented at the 8th edition of the International Congress of Audiovisual Researchers/ Congresso Internacional de Investigadores de Audiovisual (CIIA), which took place and was organized by Lusofona University, from June 23 to 25, 2021. In this edition, the theme chosen was “Audiovisual and Creative Industries – Present and Future”, thus recognizing the importance of reflecting and discussing the challenges that the audiovisual media were facing in the sector within the broader context of the creative industries. This event was attended by more than two hundred researchers, mainly from Spain and Portugal, but also from countries such as Mexico, Ecuador, Colombia, Chile, Brazil, China, Russia, Israel, Slovenia and Italy. The standards of this selection complied with all academic criteria, namely double-blind peer-review system.
{"title":"Editorial - Audiovisual and Creative Industries - Present and Future","authors":"José Bragança de Miranda, C. Quico, José Gomes Pinto, Luís Cláudio Ribeiro","doi":"10.24140/ijfma.v7.n2.edit","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n2.edit","url":null,"abstract":"This International Journal of Film and Media Arts’ (IJFMA) issue is built upon a selection of papers that were presented at the 8th edition of the International Congress of Audiovisual Researchers/ Congresso Internacional de Investigadores de Audiovisual (CIIA), which took place and was organized by Lusofona University, from June 23 to 25, 2021. In this edition, the theme chosen was “Audiovisual and Creative Industries – Present and Future”, thus recognizing the importance of reflecting and discussing the challenges that the audiovisual media were facing in the sector within the broader context of the creative industries. This event was attended by more than two hundred researchers, mainly from Spain and Portugal, but also from countries such as Mexico, Ecuador, Colombia, Chile, Brazil, China, Russia, Israel, Slovenia and Italy. The standards of this selection complied with all academic criteria, namely double-blind peer-review system.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46239199","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}
The study of cultural industries, in particular the complex manifestations of spectacle, has produced valuable contributions that articulate capitalism, globalization and culture. The revisitation of this legacy, especially in dealing with Latin American phenomena, is this paper’s effort. Two case studies that took place in the 2010’s, in Brazil, underpin a reflection on mediated crimes in a digitalized, but still inequal society. The first tells of a prisoner’s self-recorded video, made in response to TV Globo’s news piece about a 2017 massacre; the second examines a reenactment of a 2000 crime that happened on the bridge Rio-Niterói in 2019, and referenced not only a real hijacking, but its film representations (Bus 174 and Last Stop 174). Invoking examples of exceptionality, the article aims at delineating how certain digital spectacles of violence can be understood as direct responses to cultural texts: even though practices of socialization via the internet pose questions of accelerated efficiency (in reaching wider audiences, and updating the meaning of live events), the social and aesthetic performances involving violence retrieve long-standing traditions created by modern institutions.
{"title":"Digital Spectacles of Violence: Film, TV and Social Media Entanglements in 2010’s Brazil","authors":"Eduardo Prado Cardoso","doi":"10.24140/ijfma.v7.n2.02","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n2.02","url":null,"abstract":"The study of cultural industries, in particular the complex manifestations of spectacle, has produced valuable contributions that articulate capitalism, globalization and culture. The revisitation of this legacy, especially in dealing with Latin American phenomena, is this paper’s effort. Two case studies that took place in the 2010’s, in Brazil, underpin a reflection on mediated crimes in a digitalized, but still inequal society. The first tells of a prisoner’s self-recorded video, made in response to TV Globo’s news piece about a 2017 massacre; the second examines a reenactment of a 2000 crime that happened on the bridge Rio-Niterói in 2019, and referenced not only a real hijacking, but its film representations (Bus 174 and Last Stop 174). Invoking examples of exceptionality, the article aims at delineating how certain digital spectacles of violence can be understood as direct responses to cultural texts: even though practices of socialization via the internet pose questions of accelerated efficiency (in reaching wider audiences, and updating the meaning of live events), the social and aesthetic performances involving violence retrieve long-standing traditions created by modern institutions.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44027785","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}
Narratives have been witnessing a state of enfoldment within the virtual world(s) since the proliferation of transmedia story worlds and new media art works. The aesthetics of enfoldment are discussed by Laura U. Marks within different trends in media art. She follows a genealogy of media art that has its roots in premodern Islamic concepts. Enfoldment is therefore situated as the broad framework of this paper’s discussion. Since the prevalence of the concept of transmedia storytelling, coined by Henry Jenkins in 2007, different franchises (be it in entertainment and others) have adopted certain narrative tropes to create a transmedia presence or universe. One of these tropes is the usage of multi-linear storytelling. Multi-linearity is one of the forms narrative storytelling that liberates a story from its temporal structure, making the consumption of narrative open to the end user. Parafiction, on the other hand, denotes instances when the lines between fact and fiction become blurry creating contemporary artworks where story worlds are essential for the dissemination of the works themselves. According to Lambert-beaty (2009) “the slew of recent writings trying to describe or explain this condition ranges from philosophical explorations of ‘the ethics of the lie’, to moralist warnings about our entry into ‘the post-truth era’” (Lambert-beatty, 2009). The following article aims at disseminating past scholarship on multi-linear and parafictional storytelling in trans and new media art in an attempt at shaping the theoretical framework of my doctoral thesis project; a podcast series intended for online dissemination that features conversations between a fictional character and non-fictional historical figures.
{"title":"Narratives of Enfoldment: Multi-linear and Parafictional Storytelling in Media Art","authors":"Fuad Halwani","doi":"10.24140/ijfma.v7.n2.05","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n2.05","url":null,"abstract":"Narratives have been witnessing a state of enfoldment within the virtual world(s) since the proliferation of transmedia story worlds and new media art works. The aesthetics of enfoldment are discussed by Laura U. Marks within different trends in media art. She follows a genealogy of media art that has its roots in premodern Islamic concepts. Enfoldment is therefore situated as the broad framework of this paper’s discussion. Since the prevalence of the concept of transmedia storytelling, coined by Henry Jenkins in 2007, different franchises (be it in entertainment and others) have adopted certain narrative tropes to create a transmedia presence or universe. One of these tropes is the usage of multi-linear storytelling. Multi-linearity is one of the forms narrative storytelling that liberates a story from its temporal structure, making the consumption of narrative open to the end user. Parafiction, on the other hand, denotes instances when the lines between fact and fiction become blurry creating contemporary artworks where story worlds are essential for the dissemination of the works themselves. According to Lambert-beaty (2009) “the slew of recent writings trying to describe or explain this condition ranges from philosophical explorations of ‘the ethics of the lie’, to moralist warnings about our entry into ‘the post-truth era’” (Lambert-beatty, 2009). The following article aims at disseminating past scholarship on multi-linear and parafictional storytelling in trans and new media art in an attempt at shaping the theoretical framework of my doctoral thesis project; a podcast series intended for online dissemination that features conversations between a fictional character and non-fictional historical figures.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49514166","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}
Storytelling is one of the most powerful tools the Homo sapiens species have at their disposal. Considered one of the oldest forms of art and an evolutionary adaptation for survival, storytelling will surely have an important role in the challenging transition into a posthuman ecosystem. This article argues that Homo sapiens will eventually evolve and fragment into other species much due to our natural proclivity towards enhancing technologies; we propose that empathic storytelling might be paramount to reduce otherness and othering in-between human, transhuman, and posthuman sentient beings. The importance of storytelling as a deterrent for othering future complex artificial intelligence, augmented humans, and posthuman species has not been properly explored and studied in-depth, therefore, we collected data and points of view on vital concepts pertinent to the discussion. This paper’s main goals are to contribute to the debate of storytelling and posthumanism and to understand how the action of telling empathic, appealing, and engaging stories, be it through books, moving images, or videogames could be used for the betterment of future societies and their relations. We concluded that by creating and disseminating big quantities of beautiful, touching, empathic, direct from the heart, speculative, truthful, and thought-provoking stories, in all available media, it is possible to combat the nefarious act of othering and prepare contemporary societies for the emergence of transhuman and posthuman species; we further argue that speculative fiction and audiovisual content production systematically explores concepts such as androids, artificial intelligence, cyborgs, robots, and what it means to be human, making them an efficient genre and media to achieve the above-mentioned inspiring goal of connecting people empathically and reducing future othering.
{"title":"Importance of Storytelling and Speculative Fiction in the Transition into A Posthuman Ecosystem","authors":"Marco Fraga da Silva, M. Damásio","doi":"10.24140/ijfma.v7.n2.04","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n2.04","url":null,"abstract":"Storytelling is one of the most powerful tools the Homo sapiens species have at their disposal. Considered one of the oldest forms of art and an evolutionary adaptation for survival, storytelling will surely have an important role in the challenging transition into a posthuman ecosystem. This article argues that Homo sapiens will eventually evolve and fragment into other species much due to our natural proclivity towards enhancing technologies; we propose that empathic storytelling might be paramount to reduce otherness and othering in-between human, transhuman, and posthuman sentient beings. The importance of storytelling as a deterrent for othering future complex artificial intelligence, augmented humans, and posthuman species has not been properly explored and studied in-depth, therefore, we collected data and points of view on vital concepts pertinent to the discussion. This paper’s main goals are to contribute to the debate of storytelling and posthumanism and to understand how the action of telling empathic, appealing, and engaging stories, be it through books, moving images, or videogames could be used for the betterment of future societies and their relations. We concluded that by creating and disseminating big quantities of beautiful, touching, empathic, direct from the heart, speculative, truthful, and thought-provoking stories, in all available media, it is possible to combat the nefarious act of othering and prepare contemporary societies for the emergence of transhuman and posthuman species; we further argue that speculative fiction and audiovisual content production systematically explores concepts such as androids, artificial intelligence, cyborgs, robots, and what it means to be human, making them an efficient genre and media to achieve the above-mentioned inspiring goal of connecting people empathically and reducing future othering.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47874528","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}
This article compares the ideological positions found in the visions of the future proposed by the World Economic Forum (WEF) in “The Great Reset” campaign and in the internet users’ reaction to it. In this YouTube campaign, the WEF presents what it understands the “new normal” should be –understood as the new social, economic, and political relations after the COVID-19 pandemic. The YouTube users’ comments reject the agenda and express different grounds for such an attitude. This study identifies the main ideas and ideologies within the comments and in the presentation of the WEF’s campaign using the psychoanalytical political theory. The results reveal that the agenda and reactions to it are motivated by the exacerbated state of inequality and suffering caused by the current pandemic. While “The Great Reset” attempts to save capitalism by integrating human values, the comments contain populist and conspiratorial ideas. Although they rely on different epistemological grounds, the analysis reveals that both share a common understanding of a society that separates the populace against the ruling elites, who have become wealthier during the pandemic.
{"title":"FEAR and \"The great reset\": Analysis of the World Economic Forum's post-COVID agenda videos and the adverse reactions to them","authors":"Nemanja Milosevic, Miren Gutiérrez","doi":"10.24140/ijfma.v7.n2.01","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n2.01","url":null,"abstract":"This article compares the ideological positions found in the visions of the future proposed by the World Economic Forum (WEF) in “The Great Reset” campaign and in the internet users’ reaction to it. In this YouTube campaign, the WEF presents what it understands the “new normal” should be –understood as the new social, economic, and political relations after the COVID-19 pandemic. The YouTube users’ comments reject the agenda and express different grounds for such an attitude. This study identifies the main ideas and ideologies within the comments and in the presentation of the WEF’s campaign using the psychoanalytical political theory. The results reveal that the agenda and reactions to it are motivated by the exacerbated state of inequality and suffering caused by the current pandemic. While “The Great Reset” attempts to save capitalism by integrating human values, the comments contain populist and conspiratorial ideas. Although they rely on different epistemological grounds, the analysis reveals that both share a common understanding of a society that separates the populace against the ruling elites, who have become wealthier during the pandemic.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-12-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44346466","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}
On 30 July 1984, 11 mercury miners locked down in the mines of Almadén (Ciudad Real, southern Spain) to protest against their precarious economic and social conditions. 650 meters deep inside the oldest and most productive mercury mines in world’s history, the miners endured the dark and contaminated galleries for 11 days and nights until their claims were addressed. As an emigrated local filmmaker, I come back to post-industrial Almadén in 2019 with the idea of making a documentary reenactment film about the mining strike. The premise is to find young locals willing to live inside the now-closed mines for 11 whole days to homage the old miners and recreate the experience of 1984, 35 years later. Apart from engaging our collective mining past, performing the form and duration of a previous workers strike, Encierro proposes the underground as a living and symbolic space to foster a series of conversations, encounters, and social and political propositions to reimagine Almadén, which rose from a mine shaft more than 2000 years ago, as ‘something else besides’ a mining town. This article explores the potential of documentary film shooting to take on a different relationship to normal life than the same or similar events would have as “untransformed reality” (Goffman, 1974, p. 175) - a strike versus the reenactment of a strike – and its potential for activism and social transformation. I will also explore the use of the conditional tense in documentary; a speculative and hypothetical approach to reality sensitive to the ‘potentially’ real, the ‘possible’, and the ‘what if’ as modes of documentation. What happens when the forms of ‘documentary’ and ‘reenactment’ are exceeded, and act upon the world rather than only represent it?
{"title":"Reenactment as Social Action: The Making of Encierro","authors":"Arturo Delgado Pereira","doi":"10.24140/ijfma.v7.n1.02","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n1.02","url":null,"abstract":"On 30 July 1984, 11 mercury miners locked down in the mines of Almadén (Ciudad Real, southern Spain) to protest against their precarious economic and social conditions. 650 meters deep inside the oldest and most productive mercury mines in world’s history, the miners endured the dark and contaminated galleries for 11 days and nights until their claims were addressed. As an emigrated local filmmaker, I come back to post-industrial Almadén in 2019 with the idea of making a documentary reenactment film about the mining strike. The premise is to find young locals willing to live inside the now-closed mines for 11 whole days to homage the old miners and recreate the experience of 1984, 35 years later. Apart from engaging our collective mining past, performing the form and duration of a previous workers strike, Encierro proposes the underground as a living and symbolic space to foster a series of conversations, encounters, and social and political propositions to reimagine Almadén, which rose from a mine shaft more than 2000 years ago, as ‘something else besides’ a mining town. This article explores the potential of documentary film shooting to take on a different relationship to normal life than the same or similar events would have as “untransformed reality” (Goffman, 1974, p. 175) - a strike versus the reenactment of a strike – and its potential for activism and social transformation. I will also explore the use of the conditional tense in documentary; a speculative and hypothetical approach to reality sensitive to the ‘potentially’ real, the ‘possible’, and the ‘what if’ as modes of documentation. What happens when the forms of ‘documentary’ and ‘reenactment’ are exceeded, and act upon the world rather than only represent it?","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45311389","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}
As editors of this issue, we have approached the dimensions of artistic research from our own personal experience as practitioners, knowing that it is significant in a research-teaching context. As a film editor Gesa Marten’s approach to teaching montage through edit labs and collaborative engagement creates frameworks to work through the processes of editing, not simply as part of the production line in filmmaking but one in which editing is a continuation of the research process. Montage is conceived as a practice of critical thinking, exploring and speaking through contextualization, through de- and reconstruction, through the analysis and synthesis of sequences of images and sounds. For Jyoti Mistry, research enquiry is core to augmenting the synergy between her film practice and her pedagogic approach. She has worked extensively on experimenting with pedagogic methods that rely on facilitating research enquiry through artistic practices. These two positions as working practitioners (as editor and filmmaker respectively) and our experience of teaching is important to contextualize the following montage of positions and perspectives.
{"title":"Positions and Perspectives on Artistic Research in Film","authors":"Gesa Marten, Jyoti Mistry","doi":"10.24140/ijfma.v7.n1.06","DOIUrl":"https://doi.org/10.24140/ijfma.v7.n1.06","url":null,"abstract":"As editors of this issue, we have approached the dimensions of artistic research from our own personal experience as practitioners, knowing that it is significant in a research-teaching context. As a film editor Gesa Marten’s approach to teaching montage through edit labs and collaborative engagement creates frameworks to work through the processes of editing, not simply as part of the production line in filmmaking but one in which editing is a continuation of the research process. Montage is conceived as a practice of critical thinking, exploring and speaking through contextualization, through de- and reconstruction, through the analysis and synthesis of sequences of images and sounds. For Jyoti Mistry, research enquiry is core to augmenting the synergy between her film practice and her pedagogic approach. She has worked extensively on experimenting with pedagogic methods that rely on facilitating research enquiry through artistic practices. These two positions as working practitioners (as editor and filmmaker respectively) and our experience of teaching is important to contextualize the following montage of positions and perspectives.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42430651","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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