While many researchers have examined the technical characteristics of using VR as a production environment for animation, its artistic potential has only sporadically been investigated. We want to contribute to this line of thought through reflection on a number of expanded animation workshops organized in the context of the Painting With Light project. In this paper we use flow theory in order to discuss the experience of using VR as a 3D prototyping tool. Our findings suggest that this practice can add an improvisatory and co-creative dimension to animation.
{"title":"Painting With Light: Artistic Experiments into the use of Virtual Reality as an Animation Production Environment","authors":"Gert Wastyn, S. Malliet, Bart Geerts","doi":"10.24140/ijfma.v6.n2.09","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n2.09","url":null,"abstract":"While many researchers have examined the technical characteristics of using VR as a production environment for animation, its artistic potential has only sporadically been investigated. We want to contribute to this line of thought through reflection on a number of expanded animation workshops organized in the context of the Painting With Light project. In this paper we use flow theory in order to discuss the experience of using VR as a 3D prototyping tool. Our findings suggest that this practice can add an improvisatory and co-creative dimension to animation.","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":"44543660","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}
Today´s projection art on public surfaces developed from the mutual approximation of painting, architecture, and lighting during centuries. The terms “Spatial Augmented Reality” (SAR) and “projection mapping” describe mostly temporary large screen projections on urban surfaces. The façade architecture becomes the screen for the content, mostly projected 2D and 3D animations. In essence, many of these artworks generate illusionistic clips deriving from the existing façade structure, allowing reality and fiction to merge audio visually. Artists, architects, curators, and institutions are increasingly aware of their responsibility related to this form of the mediatization of architecture, as shown, for example, by the Brazilian artist group Visualfarm. Their members approach their work as a counterpoint to the commercialization of public space in its appropriation by industry, propaganda, and advertising. But on the other hand, they also make a living from commercial assignments. Artists and architects often see themselves as pioneers and experimental researchers for possible developments in the coming digitized cities. By presenting various examples by selected artists like Corrie Francis Parks, Pablo Valbuena and Robert Seidel, the role of animation in connection with an alternative approach to the concepts of augmented realities within this process of social and urban evolution will be discussed. These artists try to integrate digital content into the cityscape in a harmonious sense.
今天的公共表面投影艺术是在几个世纪以来绘画、建筑和照明的相互近似基础上发展起来的。术语“空间增强现实”（SAR）和“投影地图”主要描述城市表面的临时大屏幕投影。立面建筑成为内容的屏幕，主要是投影的2D和3D动画。从本质上讲，这些艺术品中的许多都产生了源自现有立面结构的幻觉片段，使现实和虚构在视觉上融合了音频。艺术家、建筑师、策展人和机构越来越意识到他们对这种建筑中介形式的责任，例如巴西艺术家团体Visualfarm所展示的。他们的成员将他们的工作视为对工业、宣传和广告占用公共空间的商业化的回应。但另一方面，他们也以商业任务为生。艺术家和建筑师经常将自己视为未来数字化城市可能发展的先驱和实验研究人员。通过展示科里·弗朗西斯·帕克斯（Corrie Francis Parks）、巴勃罗·瓦尔布埃纳（Pablo Valbuena）和罗伯特·塞德尔（Robert Seidel。这些艺术家试图将数字内容以和谐的方式融入城市景观。
{"title":"Animated Urban Surfaces: Spatial Augmented Reality in public discourse","authors":"Martina Tritthart","doi":"10.24140/ijfma.v6.n2.05","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n2.05","url":null,"abstract":"Today´s projection art on public surfaces developed from the mutual approximation of painting, architecture, and lighting during centuries. The terms “Spatial Augmented Reality” (SAR) and “projection mapping” describe mostly temporary large screen projections on urban surfaces. The façade architecture becomes the screen for the content, mostly projected 2D and 3D animations. In essence, many of these artworks generate illusionistic clips deriving from the existing façade structure, allowing reality and fiction to merge audio visually. Artists, architects, curators, and institutions are increasingly aware of their responsibility related to this form of the mediatization of architecture, as shown, for example, by the Brazilian artist group Visualfarm. Their members approach their work as a counterpoint to the commercialization of public space in its appropriation by industry, propaganda, and advertising. But on the other hand, they also make a living from commercial assignments. Artists and architects often see themselves as pioneers and experimental researchers for possible developments in the coming digitized cities. By presenting various examples by selected artists like Corrie Francis Parks, Pablo Valbuena and Robert Seidel, the role of animation in connection with an alternative approach to the concepts of augmented realities within this process of social and urban evolution will be discussed. These artists try to integrate digital content into the cityscape in a harmonious sense.","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":"41996749","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}
After witnessing social chaos and the collapse of values at the beginning of the twentieth century, avant-garde artists insert new thought patterns and progressive aesthetic into the traditional perception of art. Being enthralled by the new film medium, former painters like Viking Eggeling, Walther Ruttman and Hans Richter start to experiment with light in two-dimensional film formats, they animate lines, stripes, basic shapes, play with the foreground and the background, and, most important of all, they construct a temporality within the visual order of the screen. Viking Eggeling’s Symphonie Diagonale (1921-24), Walther Ruttman’s Opus I (1921) and Hans Richter’s Rhythmus 21 (1921) show such temporality built in, which is caught by the idea of music as their titles suggest. These short abstract animation films attempt to discover the artistic possibilities of the new developing medium, film. Like the pioneer avant-garde abstract filmmakers, today’s artists still seek to stimulate a new perception for a possible embodiment that will activate the sense of touch in the audience. Tactility, enhanced by the material, opens up a new network of spatio-temporal relationships in the viewer's consciousness and subjecthood. This essay aims to bring a historical perspective to the abstract moving images of which the tactile or haptic experience is a defining characteristic. Through a selection of abstract animations, the materiality of the film image and the screening site will be elaborated upon according to the haptic features that are corporally embodied by the viewers. In the light of historical abstract animation, the aim is to dwell upon the dynamics of a continuous tendency to capture tactile instances to help bring forth the spatial resonances as well as visualize and reedify the rhythmic passing of time.
{"title":"Concrete Abstract: Exploring Tactility in Abstract Animations from Early Avant-garde Films to Contemporary Artworks","authors":"Basak Kaptan Siray","doi":"10.24140/ijfma.v6.n2.02","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n2.02","url":null,"abstract":"After witnessing social chaos and the collapse of values at the beginning of the twentieth century, avant-garde artists insert new thought patterns and progressive aesthetic into the traditional perception of art. Being enthralled by the new film medium, former painters like Viking Eggeling, Walther Ruttman and Hans Richter start to experiment with light in two-dimensional film formats, they animate lines, stripes, basic shapes, play with the foreground and the background, and, most important of all, they construct a temporality within the visual order of the screen. Viking Eggeling’s Symphonie Diagonale (1921-24), Walther Ruttman’s Opus I (1921) and Hans Richter’s Rhythmus 21 (1921) show such temporality built in, which is caught by the idea of music as their titles suggest. These short abstract animation films attempt to discover the artistic possibilities of the new developing medium, film. Like the pioneer avant-garde abstract filmmakers, today’s artists still seek to stimulate a new perception for a possible embodiment that will activate the sense of touch in the audience. Tactility, enhanced by the material, opens up a new network of spatio-temporal relationships in the viewer's consciousness and subjecthood. This essay aims to bring a historical perspective to the abstract moving images of which the tactile or haptic experience is a defining characteristic. Through a selection of abstract animations, the materiality of the film image and the screening site will be elaborated upon according to the haptic features that are corporally embodied by the viewers. In the light of historical abstract animation, the aim is to dwell upon the dynamics of a continuous tendency to capture tactile instances to help bring forth the spatial resonances as well as visualize and reedify the rhythmic passing of time.","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":"48864154","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’s short abstract animations demonstrate an awareness of the form’s historic 1920’s European Abstract Animation precedents, is informed by the structurally focused minimalism of the 60’s and re-tools pre-cinema toys. Yet his work speaks to the contemporary technological environment he occupies and experiences directly. His move to Hong Kong and his recent Serial Parallels is also a predictive probe into future media environments. Hattler’s digital architectures are designed to make sense of the technological situation of speed and information overload which Vilem Flusser marks as amnesic and Marshall McLuhan identifies as an acoustic space readable through pattern recognition. His practice makes productive use of the flexible and modular qualities of contemporary digital image-making technologies for both production and publication purposes.
{"title":"The Beauty of the Fragment Reconstituted in the Great Wall","authors":"D. de Bruyn","doi":"10.24140/ijfma.v6.n2.03","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n2.03","url":null,"abstract":"Max Hattler’s short abstract animations demonstrate an awareness of the form’s historic 1920’s European Abstract Animation precedents, is informed by the structurally focused minimalism of the 60’s and re-tools pre-cinema toys. Yet his work speaks to the contemporary technological environment he occupies and experiences directly. His move to Hong Kong and his recent Serial Parallels is also a predictive probe into future media environments. Hattler’s digital architectures are designed to make sense of the technological situation of speed and information overload which Vilem Flusser marks as amnesic and Marshall McLuhan identifies as an acoustic space readable through pattern recognition. His practice makes productive use of the flexible and modular qualities of contemporary digital image-making technologies for both production and publication purposes.","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":"46100842","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 present article discusses how speculative design relates to technoscientific extrapolation, an important science fiction feature, to plan for potential scenarios and prototype viable models of futurity. Through it, the paper outlines some important nuances between different approaches concerning speculative design’s role, considering their particular epistemological assumptions. A specific case is presented and discussed: Daleko (2020), a project developed for the Strelka Institute’s Terraforming program. This project consists of nine science fiction pieces that entangle issues of waste management, technical infrastructure, and climate politics, discussing the problematic conception of waste as a form of externality and imagining future scenarios for managing it through a more holistic perspective. By analysing Daleko’s approach to speculative design, in its final section the article suggests further developing speculative projects in contexts of design education. This would serve towards stimulating designers to ponder how their craft relates to anthropogenic impact and how it can play a decisive role in prospecting more viable future scenarios.
{"title":"Re-Entangling Design and Science Fiction: The Case of Daleko","authors":"Eduardo Harry Luersen","doi":"10.24140/IJFMA.V6.N1.02","DOIUrl":"https://doi.org/10.24140/IJFMA.V6.N1.02","url":null,"abstract":"The present article discusses how speculative design relates to technoscientific extrapolation, an important science fiction feature, to plan for potential scenarios and prototype viable models of futurity. Through it, the paper outlines some important nuances between different approaches concerning speculative design’s role, considering their particular epistemological assumptions. A specific case is presented and discussed: Daleko (2020), a project developed for the Strelka Institute’s Terraforming program. This project consists of nine science fiction pieces that entangle issues of waste management, technical infrastructure, and climate politics, discussing the problematic conception of waste as a form of externality and imagining future scenarios for managing it through a more holistic perspective. By analysing Daleko’s approach to speculative design, in its final section the article suggests further developing speculative projects in contexts of design education. This would serve towards stimulating designers to ponder how their craft relates to anthropogenic impact and how it can play a decisive role in prospecting more viable future scenarios.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41462008","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 : 2021-06-09DOI: 10.24140/ijfma.v6.n1.edit
Rita Carvalho, Patrícia Cativo
{"title":"Editorial Vol. 6 No. 1","authors":"Rita Carvalho, Patrícia Cativo","doi":"10.24140/ijfma.v6.n1.edit","DOIUrl":"https://doi.org/10.24140/ijfma.v6.n1.edit","url":null,"abstract":"","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-06-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46152517","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}
Franziska Pilling, Joseph Lindley, H. Akmal, P. Coulton
2001: A Space Odyssey (Kubrick, 1968) speculates on humanities technological ascension through the exploration of space and the ultimate transcendence of humanity galvanised by the invention of AI. Every detail of this portrayal was an exercise in World Building, with careful considerations of then state-of-the-art technology and informed predictions. Kubrick’s speculative vision is comparative to the practice of Design Fiction, by suspending disbelief and leveraging a technologies emergence to question the future’s sociotechnical landscape and its ramifications critically. Discovery’s AI system, Hal9000, is a convincing speculation of intelligence with Kubrick’s vision showcasing current and long-term aims in AI research. To this end, Hal9000 uniquely portrays Artificial General Intelligence (AGI) underpinned by visualising ‘narrow’ AI subproblems; thereby, simultaneously highlighting then current research agendas within AI and manifesting them into the aspirational research agenda of human-computer symbiosis. As a result of Kubrick’s mastery in suspending a viewer’s disbelief despite portraying a particular reality for AI, and humanities fascination with artificial life, the term AI simultaneously refers to the grand vision of AGI as well as relating to the contemporary reality of narrow AI. This confusion, along with establishing AI’s ontology, are current challenges that need addressing to create effective and acceptable realisations of AI. This paper responds to the ontological confusion by reviewing and comparing Kubrick’s speculative methodology to the practice of Design Fiction by unpacking Hal9000 as a diegetic prototype while defining the active threads of ‘AI’s Definitional Dualism’. The paper will also present a Design Fiction submerged in the reality of narrow AI and the adoption of a More-Than Human Centred Design approach to address the complexity of AI’s ontology in alternative ways. Finally, this paper will also define the importance of researching the semantics of AI technology and how film and Design Fiction offer a discursive space for design research to transpire.
{"title":"Design (Non) Fiction: Deconstructing/Reconstructing the Definitional Dualism of AI","authors":"Franziska Pilling, Joseph Lindley, H. Akmal, P. Coulton","doi":"10.24140/IJFMA.V6.N1.01","DOIUrl":"https://doi.org/10.24140/IJFMA.V6.N1.01","url":null,"abstract":"2001: A Space Odyssey (Kubrick, 1968) speculates on humanities technological ascension through the exploration of space and the ultimate transcendence of humanity galvanised by the invention of AI. Every detail of this portrayal was an exercise in World Building, with careful considerations of then state-of-the-art technology and informed predictions. Kubrick’s speculative vision is comparative to the practice of Design Fiction, by suspending disbelief and leveraging a technologies emergence to question the future’s sociotechnical landscape and its ramifications critically. Discovery’s AI system, Hal9000, is a convincing speculation of intelligence with Kubrick’s vision showcasing current and long-term aims in AI research. To this end, Hal9000 uniquely portrays Artificial General Intelligence (AGI) underpinned by visualising ‘narrow’ AI subproblems; thereby, simultaneously highlighting then current research agendas within AI and manifesting them into the aspirational research agenda of human-computer symbiosis. As a result of Kubrick’s mastery in suspending a viewer’s disbelief despite portraying a particular reality for AI, and humanities fascination with artificial life, the term AI simultaneously refers to the grand vision of AGI as well as relating to the contemporary reality of narrow AI. This confusion, along with establishing AI’s ontology, are current challenges that need addressing to create effective and acceptable realisations of AI. This paper responds to the ontological confusion by reviewing and comparing Kubrick’s speculative methodology to the practice of Design Fiction by unpacking Hal9000 as a diegetic prototype while defining the active threads of ‘AI’s Definitional Dualism’. The paper will also present a Design Fiction submerged in the reality of narrow AI and the adoption of a More-Than Human Centred Design approach to address the complexity of AI’s ontology in alternative ways. Finally, this paper will also define the importance of researching the semantics of AI technology and how film and Design Fiction offer a discursive space for design research to transpire.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45480048","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 : 2020-11-13DOI: 10.24140/ijfma.v5.n2.edit
M. Damásio, Cicant, Jyoti Mistry
The idea for this special issue came out of the recognition that an association such as GEECT must react to this state of affairs and should contribute to its member schools’ ability to offer learning and teaching programmes that are built on state-of-the-art knowledge in the field. We envision this special issue as a show case of the research being conducted in different schools and also as a statement in favour of the relevance of artistic practice based research. The articles here included are all examples of how artistic research is undertaken in film and media arts, and achieves its results both within those disciplines, as well as often in a transdisciplinary setting, combining artistic methods with methods from other research traditions. In a context where film schools have been increasingly driven to conduct artistic research, we believe the development of the research environment is essential. This objective is just as important as the research outputs and their impact, and this has become a high strategic priority for GEECT that we also try to materialize via this special issue.
{"title":"Mapping Artistic Research in Film","authors":"M. Damásio, Cicant, Jyoti Mistry","doi":"10.24140/ijfma.v5.n2.edit","DOIUrl":"https://doi.org/10.24140/ijfma.v5.n2.edit","url":null,"abstract":"The idea for this special issue came out of the recognition that an association such as GEECT must react to this state of affairs and should contribute to its member schools’ ability to offer learning and teaching programmes that are built on state-of-the-art knowledge in the field. We envision this special issue as a show case of the research being conducted in different schools and also as a statement in favour of the relevance of artistic practice based research. The articles here included are all examples of how artistic research is undertaken in film and media arts, and achieves its results both within those disciplines, as well as often in a transdisciplinary setting, combining artistic methods with methods from other research traditions. In a context where film schools have been increasingly driven to conduct artistic research, we believe the development of the research environment is essential. This objective is just as important as the research outputs and their impact, and this has become a high strategic priority for GEECT that we also try to materialize via this special issue.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43025516","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}
Artistic Research (AR) in collective, industrial arts can find itself to be an intense balancing act: film and new media are expensive forms that rely on commercial expectations and industrial integration, while artistic experimentation flourishes in independence and creative freedom. Transposing the model of the independent artist to large-scale collective productions challenges our vision of art, affiliation and integrity. AR researchers in film and new media can have radically different practices: from industrial creative producers to one-person camera documentarists, from VR designers to screenwriters and 3D artists. While our potential for creation and innovation is similar, our expectations and abilities are as diverse as the cost of our projects. Our contribution spans questions of affiliation, authorship, production and speculation, with the aim to bring clarification on what can be expected for and of diverse AR researchers in film and new media, and to promote the concrete establishment of appropriate support and supervision.
{"title":"Axes of Tension: Navigating craft, institution and industry as an art-researcher in film and new media","authors":"Nadja Lipsyc, Camilla Jaller, F. Howard","doi":"10.24140/ijfma.v5.n2.01","DOIUrl":"https://doi.org/10.24140/ijfma.v5.n2.01","url":null,"abstract":"Artistic Research (AR) in collective, industrial arts can find itself to be an intense balancing act: film and new media are expensive forms that rely on commercial expectations and industrial integration, while artistic experimentation flourishes in independence and creative freedom. Transposing the model of the independent artist to large-scale collective productions challenges our vision of art, affiliation and integrity. AR researchers in film and new media can have radically different practices: from industrial creative producers to one-person camera documentarists, from VR designers to screenwriters and 3D artists. While our potential for creation and innovation is similar, our expectations and abilities are as diverse as the cost of our projects. Our contribution spans questions of affiliation, authorship, production and speculation, with the aim to bring clarification on what can be expected for and of diverse AR researchers in film and new media, and to promote the concrete establishment of appropriate support and supervision.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44714211","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 is dedicated to all my SOAS undergraduate and postgraduate class members of the academic year 2019-2020, Marguerite Culot, Maximilian Frederik, Umloda Emad Ibrahim, Mostafa Khattab, Ewa Kataryna Kiszelka, Alix Lafosse, Peiwen Li, Yuan Liao, Leen M. Fouad, Donovan Mathews, Ying Sang, Clara Katharina Von Harling, Hsueh Liang Wong, Jianbin Zhang, Cameron McGrath, Greta Alexandra Bassett, Harriet Louis Bessant Marsh, Samantha Carrick, Kim Eckersley, Alexander Hall, Christopher Stump, Ha Linh To, Inhe Yang and Jemima Presland. They were part of my first-year experience of implementing video essays as a creative assessment method. I am very grateful for their enthusiastic response to my invitation to create audiovisual criticism, and impressed by the quality of the work they produced. In their uncertainty lies my learning experience, the one that encourages me to keep engaging with this creative assessment method, and to produce them for various purposes. They have been my main partners in this collaborative task of working together towards finding some academic room for audiovisual criticism. They have been active participants in the learning and teaching of the study of film through film. My deepest gratitude also to all those colleagues who have been great sources of inspiration and supportive of my creative initiatives, starting from Prof Lindiwe Dovey. Many thanks to her and the whole Screen Worlds Team. I am so grateful to fellow colleagues at the School of Arts in SOAS, such as Prof Shane McCausland, who enthusiastically embraced and shared my interest in recursion, Dr Caspar Melville, Prof Lucy Duran, and Dr Morgan Davies, who welcomed me to a sonic discussion to share my experience teaching (or rather, being taught) video essays. I further thank the SOAS Decolonising Working Group. I am also grateful to Bartolomeo Meletti, for his eagerness to join me in the challenging endeavour of creating a guide to make video essays. Finally, I would like to thank the anonymous peer reviewer of this article, for their thorough feedback and generous engagement with my work.
{"title":"Video Essays: Curating and Transforming Film Education through Artistic Research","authors":"Estrella Sendra","doi":"10.24140/ijfma.v5.n2.04","DOIUrl":"https://doi.org/10.24140/ijfma.v5.n2.04","url":null,"abstract":"This article is dedicated to all my SOAS undergraduate and postgraduate class members of the academic year 2019-2020, Marguerite Culot, Maximilian Frederik, Umloda Emad Ibrahim, Mostafa Khattab, Ewa Kataryna Kiszelka, Alix Lafosse, Peiwen Li, Yuan Liao, Leen M. Fouad, Donovan Mathews, Ying Sang, Clara Katharina Von Harling, Hsueh Liang Wong, Jianbin Zhang, Cameron McGrath, Greta Alexandra Bassett, Harriet Louis Bessant Marsh, Samantha Carrick, Kim Eckersley, Alexander Hall, Christopher Stump, Ha Linh To, Inhe Yang and Jemima Presland. They were part of my first-year experience of implementing video essays as a creative assessment method. I am very grateful for their enthusiastic response to my invitation to create audiovisual criticism, and impressed by the quality of the work they produced. In their uncertainty lies my learning experience, the one that encourages me to keep engaging with this creative assessment method, and to produce them for various purposes. They have been my main partners in this collaborative task of working together towards finding some academic room for audiovisual criticism. They have been active participants in the learning and teaching of the study of film through film. My deepest gratitude also to all those colleagues who have been great sources of inspiration and supportive of my creative initiatives, starting from Prof Lindiwe Dovey. Many thanks to her and the whole Screen Worlds Team. I am so grateful to fellow colleagues at the School of Arts in SOAS, such as Prof Shane McCausland, who enthusiastically embraced and shared my interest in recursion, Dr Caspar Melville, Prof Lucy Duran, and Dr Morgan Davies, who welcomed me to a sonic discussion to share my experience teaching (or rather, being taught) video essays. I further thank the SOAS Decolonising Working Group. I am also grateful to Bartolomeo Meletti, for his eagerness to join me in the challenging endeavour of creating a guide to make video essays. Finally, I would like to thank the anonymous peer reviewer of this article, for their thorough feedback and generous engagement with my work.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-11-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49295476","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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