This paper provides an overview of my practice-based doctoral research: Bearing Witness: Autoethnographic Animation and the Metabolism of Trauma, which uses a multimethod approach (cognitive focus, thematic analysis of qualitative data and artistic practice), to investigate autoethnographic animation’s capacity to moderate psychological trauma. Traumatic events such as child abuse, domestic violence and military conflict often present a major health challenge for survivors, with many experiencing significantly impaired function due to symptoms such as nightmares, emotional dysregulation, negative cognitions and dissociative states. The symptoms most commonly reported are intrusive memories-sensory-perceptual impressions that involuntarily intrude into consciousness, causing distress and a sense of reexperiencing the trauma. A number of cognitive studies have measured how these intrusions may be moderated through models that either interfere with imagery, simulate trauma, or change its narrative. My research uses interviews, thematic analysis and artistic practice to investigate whether animation may similarly moderate intrusions through processes that utilise the medium’s visuospatial capacities and its potential for rescripting, or changing, the trauma narrative. The desire to use personal experience as data motivated my interest in autoethnography as a methodology for qualitative inquiry. Autoethnography is a reflexive approach that explores autobiographical stories and connects these to wider socio-cultural-political issues through writing, performance and other media. In this research I am using autoethnography to both address my lived experience of trauma and to moderate its symptoms through my animation practice.
{"title":"Autoethnographic Animation and The Metabolism of Trauma: A Multimethod Investigation","authors":"S. Young","doi":"10.24140/ijfma.v6.n3.07","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n3.07","url":null,"abstract":"This paper provides an overview of my practice-based doctoral research: Bearing Witness: Autoethnographic Animation and the Metabolism of Trauma, which uses a multimethod approach (cognitive focus, thematic analysis of qualitative data and artistic practice), to investigate autoethnographic animation’s capacity to moderate psychological trauma. Traumatic events such as child abuse, domestic violence and military conflict often present a major health challenge for survivors, with many experiencing significantly impaired function due to symptoms such as nightmares, emotional dysregulation, negative cognitions and dissociative states. The symptoms most commonly reported are intrusive memories-sensory-perceptual impressions that involuntarily intrude into consciousness, causing distress and a sense of reexperiencing the trauma. A number of cognitive studies have measured how these intrusions may be moderated through models that either interfere with imagery, simulate trauma, or change its narrative. My research uses interviews, thematic analysis and artistic practice to investigate whether animation may similarly moderate intrusions through processes that utilise the medium’s visuospatial capacities and its potential for rescripting, or changing, the trauma narrative. The desire to use personal experience as data motivated my interest in autoethnography as a methodology for qualitative inquiry. Autoethnography is a reflexive approach that explores autobiographical stories and connects these to wider socio-cultural-political issues through writing, performance and other media. In this research I am using autoethnography to both address my lived experience of trauma and to moderate its symptoms through my animation practice.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45972846","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 paper summarises the evolution and production process of Kam, a long-exposure pixilation/ 2D animation film with a unique aesthetic approach that took three years to formulate and complete due to an iterative/fragmented production schedule. Kam, which means “shaman” in old Turkish, was conceived as a response to the rise of conservative and misogynist official discourse in Turkey, and it features a woman’s fierce dance. For this film, Turkish dancer Sevinc Baltali’s improvised performance was captured by the author using the technique of long-exposure photography. Condensing the motion of the dancer, the still frames created a flowing image on screen in which the dancer’s body is sometimes hardly perceivable. The dance flow was then recreated to the music of Amolvacy, an underground New York band featuring a modern interpretation of tribal music. Finally, the manifesto of the film was reinforced by adding another layer, this time of primitive drawings by the author, on top of the images, creating a more pronounced expression of the anger and the rebellious energy of the female body. This article argues that the unique aesthetics of the film attained at the end of an iterative and fragmented production process allowed a multi-layered liminal space for meaning to emerge. By elaborating on the relationship between the aesthetic approach, the political stance and the production methodology of this film, this article aims to demonstrate how animation can create an evocative and visceral experience that highlights and communicates what Herzog (2010) defines as “ecstatic truth”.
{"title":"Dance, Long Exposure and Drawing: An Absurd Manifesto about the Female Body","authors":"Zeynep Akcay","doi":"10.24140/ijfma.v6.n3.05","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n3.05","url":null,"abstract":"This paper summarises the evolution and production process of Kam, a long-exposure pixilation/ 2D animation film with a unique aesthetic approach that took three years to formulate and complete due to an iterative/fragmented production schedule. Kam, which means “shaman” in old Turkish, was conceived as a response to the rise of conservative and misogynist official discourse in Turkey, and it features a woman’s fierce dance. For this film, Turkish dancer Sevinc Baltali’s improvised performance was captured by the author using the technique of long-exposure photography. Condensing the motion of the dancer, the still frames created a flowing image on screen in which the dancer’s body is sometimes hardly perceivable. The dance flow was then recreated to the music of Amolvacy, an underground New York band featuring a modern interpretation of tribal music. Finally, the manifesto of the film was reinforced by adding another layer, this time of primitive drawings by the author, on top of the images, creating a more pronounced expression of the anger and the rebellious energy of the female body. This article argues that the unique aesthetics of the film attained at the end of an iterative and fragmented production process allowed a multi-layered liminal space for meaning to emerge. By elaborating on the relationship between the aesthetic approach, the political stance and the production methodology of this film, this article aims to demonstrate how animation can create an evocative and visceral experience that highlights and communicates what Herzog (2010) defines as “ecstatic truth”.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49111647","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 : 2021-12-31DOI: 10.24140/ijfma.v6.n3.edit
Pedro Serrazina
{"title":"IJFMA Vol. 6 No. 3 Editorial","authors":"Pedro Serrazina","doi":"10.24140/ijfma.v6.n3.edit","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n3.edit","url":null,"abstract":"","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45484359","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}
Max Hattler is an artist, researcher, curator and educator who works with abstract and experimental animation, video installation, and audio-visual performance. After studying in London at Goldsmiths and the Royal College of Art, he completed a doctorate in fine art at the University of East London. He is an assistant professor at the School of Creative Media, City University of Hong Kong. Hattler’s work has been shown worldwide, receiving prizes from Annecy Animation Festival, Prix Ars Electronica, Montreal Festival du Nouveau Cinéma, Punto y Raya Festival, Cannes Lions and London International Animation Festival, among others. He has published on expanded stereoscopic approaches in experimental filmmaking and the narrative potential of abstraction in animation. He has spoken widely at international conferences such as CONFIA, the Society for Animation Studies Conference, Animafest Scanner, Ars Electronica’s Expanded Animation Symposium and the Annual China Animation Studies Conference in Chengdu. Max Hattler is the co-founder and chairman of Relentless Melt, a Hong Kong-based society for the promotion, production and dissemination of abstract and experimental animation, which presents screenings in Hong Kong and internationally. He serves on the board of directors of the iotaCenter and the editorial boards of Animation: An Interdisciplinary Journal, and Animation Practice, Process & Production.
Max Hattler是一位艺术家、研究员、策展人和教育家，从事抽象和实验动画、视频安装和视听表演。在伦敦金匠学院和皇家艺术学院学习后，他在东伦敦大学完成了美术博士学位。他是香港城市大学创意媒体学院的助理教授。哈特勒的作品已经在世界各地展出，获得了安纳西动画节、电子艺术大奖赛、蒙特利尔新艺术节、Punto y Raya艺术节、戛纳狮子会和伦敦国际动画节等奖项。他发表了关于实验电影制作中扩展的立体方法和动画中抽象的叙事潜力的文章。他在国际会议上发表了广泛的演讲，如CONFIA、动画研究学会会议、Anifest Scanner、Ars Electronica的扩展动画研讨会和在成都举行的中国动画研究年会。Max Hattler是Relentless Melt的联合创始人兼主席，这是一家总部位于香港的促进、制作和传播抽象和实验动画的协会，在香港和国际上放映。他是iotaCenter的董事会成员，也是《动画：跨学科期刊》和《动画实践、过程与制作》的编辑委员会成员。
{"title":"The Abstracted Real: Speculations on Experimental Animated Documentary","authors":"Max Hattler","doi":"10.24140/ijfma.v6.n3.03","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n3.03","url":null,"abstract":"Max Hattler is an artist, researcher, curator and educator who works with abstract and experimental animation, video installation, and audio-visual performance. After studying in London at Goldsmiths and the Royal College of Art, he completed a doctorate in fine art at the University of East London. He is an assistant professor at the School of Creative Media, City University of Hong Kong. Hattler’s work has been shown worldwide, receiving prizes from Annecy Animation Festival, Prix Ars Electronica, Montreal Festival du Nouveau Cinéma, Punto y Raya Festival, Cannes Lions and London International Animation Festival, among others. He has published on expanded stereoscopic approaches in experimental filmmaking and the narrative potential of abstraction in animation. He has spoken widely at international conferences such as CONFIA, the Society for Animation Studies Conference, Animafest Scanner, Ars Electronica’s Expanded Animation Symposium and the Annual China Animation Studies Conference in Chengdu. Max Hattler is the co-founder and chairman of Relentless Melt, a Hong Kong-based society for the promotion, production and dissemination of abstract and experimental animation, which presents screenings in Hong Kong and internationally. He serves on the board of directors of the iotaCenter and the editorial boards of Animation: An Interdisciplinary Journal, and Animation Practice, Process & Production.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47500797","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 frames absurdity as an artistic method related to the context of an artwork’s making. The artworks introduced here are (very broadly) situated at the interface between animation and documentary. Their absurdity is not a matter of their content, but is deeply inscribed in the process of their making. Though they do not explicitly address political questions, they strike at the heart of given power systems or established hierarchies and thus hit where it hurts. “Make it absurd!” is a way of transgressing standards and norms and thus undermining established power relations. The article offers close-readings of a small number of contemporary artworks that can be apprehended as stimulating examples of how absurdity as a method deploys its critical potential. As the examples demonstrate, disrupting a given context can be achieved in many ways: By “inflating” formal devices in order to subvert typical elements of televisual language from inside-out (House by Andy Birtwistle, Great Britain 2013); by rendering a source text (and not just any text!) literally unreadable by investing an enormous amount of time to its dismantling (‘On the Road’ by Jack Kerouac by Jorge Lorenzo, Mexico 2013); by hijacking a male masterpiece and placing the “copy” as well as the female appropriator at the same level as the “master” (A Movie by Jen Proctor by Jen Proctor, USA 2010); by demonstrating that the technique of animation itself bears the mark of the absurd (Anna Vasof’s series of works, gathered under the headings of Non-stop Stop-motion and Muybridge’s Disobedient Horses, Austria, 2017–); and finally, via a method called “slapstick avant-garde,” by launching an attack on purist self-restraint (Dont Know What by Thomas Renoldner, Austria 2019).
{"title":"Hitting Where It Hurts: Absurdity as an Artistic Method","authors":"Gabriele Jutz","doi":"10.24140/ijfma.v6.n3.02","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n3.02","url":null,"abstract":"This article frames absurdity as an artistic method related to the context of an artwork’s making. The artworks introduced here are (very broadly) situated at the interface between animation and documentary. Their absurdity is not a matter of their content, but is deeply inscribed in the process of their making. Though they do not explicitly address political questions, they strike at the heart of given power systems or established hierarchies and thus hit where it hurts. “Make it absurd!” is a way of transgressing standards and norms and thus undermining established power relations. The article offers close-readings of a small number of contemporary artworks that can be apprehended as stimulating examples of how absurdity as a method deploys its critical potential. As the examples demonstrate, disrupting a given context can be achieved in many ways: By “inflating” formal devices in order to subvert typical elements of televisual language from inside-out (House by Andy Birtwistle, Great Britain 2013); by rendering a source text (and not just any text!) literally unreadable by investing an enormous amount of time to its dismantling (‘On the Road’ by Jack Kerouac by Jorge Lorenzo, Mexico 2013); by hijacking a male masterpiece and placing the “copy” as well as the female appropriator at the same level as the “master” (A Movie by Jen Proctor by Jen Proctor, USA 2010); by demonstrating that the technique of animation itself bears the mark of the absurd (Anna Vasof’s series of works, gathered under the headings of Non-stop Stop-motion and Muybridge’s Disobedient Horses, Austria, 2017–); and finally, via a method called “slapstick avant-garde,” by launching an attack on purist self-restraint (Dont Know What by Thomas Renoldner, Austria 2019).","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41704709","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 reflects on the ways in which animation critically engages with the transformation of city spaces and hence with politics of space more generally. Works of Polish and Czechoslovak animators, namely Hieronim Neumann, Zbigniew Rybcziński, Jiří Barta, and Zdeněk Smetana, serve as examples of animated films that address the phenomenon of urban development in the former Eastern Bloc. Through these examples, I examine how the dominant model of architecture between 1950 and 1990—the prefabricated concrete housing project—figured in cinematic narratives of the pre-digital era. Animation engaged with the transformation of city spaces on multiple levels: in terms of aesthetics (designs, interiors, surfaces), production modes (seriality, compression, simultaneity), and sociopolitical issues. Understanding what we might today call “serial aesthetics” alongside the social concerns that these works of animation raised provides us with a valuable historical perspective on the medium as a platform for negotiating the boundaries and overlaps between public, personal, and political spaces.
{"title":"Poetics of Seriality: Socialist Architecture in Eastern European Animation","authors":"Jana Rogoff","doi":"10.24140/ijfma.v6.n2.06","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n2.06","url":null,"abstract":"This article reflects on the ways in which animation critically engages with the transformation of city spaces and hence with politics of space more generally. Works of Polish and Czechoslovak animators, namely Hieronim Neumann, Zbigniew Rybcziński, Jiří Barta, and Zdeněk Smetana, serve as examples of animated films that address the phenomenon of urban development in the former Eastern Bloc. Through these examples, I examine how the dominant model of architecture between 1950 and 1990—the prefabricated concrete housing project—figured in cinematic narratives of the pre-digital era. Animation engaged with the transformation of city spaces on multiple levels: in terms of aesthetics (designs, interiors, surfaces), production modes (seriality, compression, simultaneity), and sociopolitical issues. Understanding what we might today call “serial aesthetics” alongside the social concerns that these works of animation raised provides us with a valuable historical perspective on the medium as a platform for negotiating the boundaries and overlaps between public, personal, and political spaces.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49560021","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}
Moritz Schweiger, J. Wimmer, Greg Nagler, Ruben Schlagowski
Augmented Reality (AR), defined as the holographic overlay of physical space with virtual objects in real time (Azuma, 1997), can be considered a prime example of mediatization. This development is particularly evident in the public space of the “mediatised city” (Hepp, Simon & Sowinska, 2018), being a focal point of the latest media technologies already overlaid with a multitude of AR content. But how does AR change the perception and meaning of urban space? And how can researchers capture methodically the appropriation of complex, large-scaled AR content experienced via high-tech AR glasses? To answer these questions, a historical building, that had been destroyed during the Second World War, was reconstructed as a holographic animation on a public city square. In order to resurrect this building in AR, old photographs, paintings and postcards were evaluated and used to create a virtual model in the original size and place it at its original location. The test subjects were then able to view the hologram from various different angles using AR glasses (Microsoft HoloLens 2), move freely around the square and even enter it. Combining quantitative, before-and-after questionnaires and qualitative thinking-aloud protocols, our results show that the holographic animation of a historical building can influence both the sensual-aesthetic perception and the personal meaning of a public square for city dwellers. Specifically, our test subjects perceived differences in its accessibility, coherence and aesthetics, simplicity, atmosphere and legibility. The meaning of the square was altered with regard to personal memories (= the self), typical groups of people (= others) and certain opportunities (= environment) associated with it by city dwellers.
{"title":"Augmenting the City: The Photo-Realistic Animation of a Historic Building and its influence on spatial perception and meaning","authors":"Moritz Schweiger, J. Wimmer, Greg Nagler, Ruben Schlagowski","doi":"10.24140/ijfma.v6.n2.07","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n2.07","url":null,"abstract":"Augmented Reality (AR), defined as the holographic overlay of physical space with virtual objects in real time (Azuma, 1997), can be considered a prime example of mediatization. This development is particularly evident in the public space of the “mediatised city” (Hepp, Simon & Sowinska, 2018), being a focal point of the latest media technologies already overlaid with a multitude of AR content. But how does AR change the perception and meaning of urban space? And how can researchers capture methodically the appropriation of complex, large-scaled AR content experienced via high-tech AR glasses? To answer these questions, a historical building, that had been destroyed during the Second World War, was reconstructed as a holographic animation on a public city square. In order to resurrect this building in AR, old photographs, paintings and postcards were evaluated and used to create a virtual model in the original size and place it at its original location. The test subjects were then able to view the hologram from various different angles using AR glasses (Microsoft HoloLens 2), move freely around the square and even enter it. Combining quantitative, before-and-after questionnaires and qualitative thinking-aloud protocols, our results show that the holographic animation of a historical building can influence both the sensual-aesthetic perception and the personal meaning of a public square for city dwellers. Specifically, our test subjects perceived differences in its accessibility, coherence and aesthetics, simplicity, atmosphere and legibility. The meaning of the square was altered with regard to personal memories (= the self), typical groups of people (= others) and certain opportunities (= environment) associated with it by city dwellers.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43553223","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}
Despite the incremental improvement and inclusion of immersive technologies in entertainment, training simulation, fine art, inclusive design, academia, and education; Virtual Reality (VR) still faces issues regarding its ability to compete with films and animation in visual storytelling without merging into the realm of video games. In 2015, Pixar’s Ed Catmull warned moviemakers that Virtual Reality is “not storytelling” and argued that the linear aspect of narratives poses an obstacle that cannot be overcome with VR. In contrast, Catmull argued that VR has immense application in games. However, VR creators have been pushing the boundaries and possibilities of delivering narratives in virtual spaces. In 2019, the VR experience “Gloomy Eyes” was presented at the Sundance festivals featuring a 30-minute story split between 3 episodes. The simulation is structured to provide its audience with some degrees of freedom while guiding them intuitively through the virtual space. In 2021, Blue Zoo also released a VR project titled “The Beast” featuring a cyclist powering up a snow-covered mountain. The short film was entirely created in Quill VR with the intention of being treated like a theatrical play rather than a film. While the creators of “The Beast” have explicitly mentioned the influence of theatre, “Gloomy Eyes” draws its visual language from similar theatrical roots. This paper argues that VR has been mistakenly compared to film and animation when it should be associated with theatre. The audience of both are not passive as they are during the screening of a film or animation. The space and the medium demands participation through their presence in the same space with the actors/characters. Theatre presents a promising candidate for extracting criteria that could be used to develop a visual language for VR. This research aims to formulate a framework for developing a VR visual language through comparison between character-driven narratives in VR such as “Gloomy Eyes” and “The Beast”. The comparative study establishes overlapping criteria and characteristics found in the structure, literacy, sound, and delivery format of narratives in a theatrical performance. These criteria are then outlined and discussed, drawing from affordance theory and discussions on aural and visual attention in theatre, to form a holistic view in approaching VR literacy.
{"title":"Stage-directing the Virtual Reality Experience: Developing a Theoretical Framework for Immersive Literacy","authors":"Henry Melki","doi":"10.24140/ijfma.v6.n2.08","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n2.08","url":null,"abstract":"Despite the incremental improvement and inclusion of immersive technologies in entertainment, training simulation, fine art, inclusive design, academia, and education; Virtual Reality (VR) still faces issues regarding its ability to compete with films and animation in visual storytelling without merging into the realm of video games. In 2015, Pixar’s Ed Catmull warned moviemakers that Virtual Reality is “not storytelling” and argued that the linear aspect of narratives poses an obstacle that cannot be overcome with VR. In contrast, Catmull argued that VR has immense application in games. However, VR creators have been pushing the boundaries and possibilities of delivering narratives in virtual spaces. In 2019, the VR experience “Gloomy Eyes” was presented at the Sundance festivals featuring a 30-minute story split between 3 episodes. The simulation is structured to provide its audience with some degrees of freedom while guiding them intuitively through the virtual space. In 2021, Blue Zoo also released a VR project titled “The Beast” featuring a cyclist powering up a snow-covered mountain. The short film was entirely created in Quill VR with the intention of being treated like a theatrical play rather than a film. While the creators of “The Beast” have explicitly mentioned the influence of theatre, “Gloomy Eyes” draws its visual language from similar theatrical roots. This paper argues that VR has been mistakenly compared to film and animation when it should be associated with theatre. The audience of both are not passive as they are during the screening of a film or animation. The space and the medium demands participation through their presence in the same space with the actors/characters. Theatre presents a promising candidate for extracting criteria that could be used to develop a visual language for VR. This research aims to formulate a framework for developing a VR visual language through comparison between character-driven narratives in VR such as “Gloomy Eyes” and “The Beast”. The comparative study establishes overlapping criteria and characteristics found in the structure, literacy, sound, and delivery format of narratives in a theatrical performance. These criteria are then outlined and discussed, drawing from affordance theory and discussions on aural and visual attention in theatre, to form a holistic view in approaching VR literacy.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47789205","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}
In 1968, a year of massive political and cultural upheaval, Luciano Berio composed a score that would shape his legacy. Entitled Sinfonia, which literally means sounding together, the symphony was sparked by the assassination of Martin Luther King. Heralded as “the ultimate pre-postmodernist musical palimpsest” (Service, 2012). Sinfonia reverberates with the political assassinations and massive protests punctuated by police repression that marked 1968. In late 2019, I was offered an animated projection commission with a primary voice in choosing a piece for live symphonic performance/projection. After some researching, I found Berio’s Sinfonia. It had what I was looking for - a “contemporary” piece, it resisted illustration, linear narrative and 19th century romanticism while eschewing the rigid formality of serialism. Instead, it embraced two core Modernist principles – fragmentation and use of the archive. Berio quoted/sampled disparate chunks of literature, music, and events of 1968 in the service of the political and the poetic to discover unity in the heterogeneous. His score seemed ripe for visual interpretation - and exposition - with animation as the prime driver. Following Berio’s lead, I chose visual sampling as my entre and turned to Google. By animating in and out of iconic (and lesser known) images in the orb of 1968, I created a commensurate puzzle piece that mirrored the suggested avant-garde intent I found in Sinfonia – “Where now? Who now? When now?” (Beckett, 1965, p. 291).
{"title":"Visualizing Berio’s Sinfonia: Choreographing Animation for Indeterminate Narratives","authors":"Rose Bond","doi":"10.24140/ijfma.v6.n2.04","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n2.04","url":null,"abstract":"In 1968, a year of massive political and cultural upheaval, Luciano Berio composed a score that would shape his legacy. Entitled Sinfonia, which literally means sounding together, the symphony was sparked by the assassination of Martin Luther King. Heralded as “the ultimate pre-postmodernist musical palimpsest” (Service, 2012). Sinfonia reverberates with the political assassinations and massive protests punctuated by police repression that marked 1968. In late 2019, I was offered an animated projection commission with a primary voice in choosing a piece for live symphonic performance/projection. After some researching, I found Berio’s Sinfonia. It had what I was looking for - a “contemporary” piece, it resisted illustration, linear narrative and 19th century romanticism while eschewing the rigid formality of serialism. Instead, it embraced two core Modernist principles – fragmentation and use of the archive. Berio quoted/sampled disparate chunks of literature, music, and events of 1968 in the service of the political and the poetic to discover unity in the heterogeneous. His score seemed ripe for visual interpretation - and exposition - with animation as the prime driver. Following Berio’s lead, I chose visual sampling as my entre and turned to Google. By animating in and out of iconic (and lesser known) images in the orb of 1968, I created a commensurate puzzle piece that mirrored the suggested avant-garde intent I found in Sinfonia – “Where now? Who now? When now?” (Beckett, 1965, p. 291).","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44786506","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 : 2021-12-17DOI: 10.24140/ijfma.v6.n2.edit
Pedro Serrazina
Since early days, the moving images of animated film have suggested a spatial freedom that challenges the limits of the photographic and traditional filmic space. When, in 1914, Winsor McCay drew himself onto the landscape to interact with Gertie, he was initiating a practice of expanding the space(s) we live in through the use of the animated image that lasts until today. Animation’s wide aesthetic and technical malleability, and its innate ability to suggest metamorphosis and unrest, has led its practice to cross boundaries and engage with the space beyond the limits of the traditional screen.
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