The development of television is never com-plete. It is a medium in permanent change, even if some aspects of television outlasted several decades. Television in the second decade of the 21st century looks different than in the 1950s of the 20th century. The screens are bigger, the picture is colourful, and the reception possibil-ities are more diverse, even mobile. Since the invention of television in the 1920s, the medium has undergone major changes, both in terms of technology and content. Television can therefore be seen on the one hand as a transitional medium - quasi a medium in permanent transition, because it repeatedly takes up and unites various technical developments. On the other hand, television can also be described as a transmedial medium because it incorporates aesthetic and narrative forms from other media into its programmes and at the same time has developed programme forms that radiate onto other, newer media (e.g. forms of television series form an important content on the Internet as web series or as an offer on streaming platforms such as Amazon Prime Video. Movistar+, Viaplay or Netflix). This double configuration of television as a transitional and transmedial medium makes up its fluid character. In the following, an initial attempt will be made to approach television in order to work out what ac-tually constitutes this medium. Afterwards, the technical and institutional development of television is dealt with, before the development of programme forms is described. Finally, current developments resulting from the digitalization of television are presented.
{"title":"Television as transitional medium","authors":"L. Mikos","doi":"10.24140/ijfma.v4.n1.01","DOIUrl":"https://doi.org/10.24140/ijfma.v4.n1.01","url":null,"abstract":"The development of television is never com-plete. It is a medium in permanent change, even if some aspects of television outlasted several decades. Television in the second decade of the 21st century looks different than in the 1950s of the 20th century. The screens are bigger, the picture is colourful, and the reception possibil-ities are more diverse, even mobile. Since the invention of television in the 1920s, the medium has undergone major changes, both in terms of technology and content. Television can therefore be seen on the one hand as a transitional medium - quasi a medium in permanent transition, because it repeatedly takes up and unites various technical developments. On the other hand, television can also be described as a transmedial medium because it incorporates aesthetic and narrative forms from other media into its programmes and at the same time has developed programme forms that radiate onto other, newer media (e.g. forms of television series form an important content on the Internet as web series or as an offer on streaming platforms such as Amazon Prime Video. Movistar+, Viaplay or Netflix). This double configuration of television as a transitional and transmedial medium makes up its fluid character. In the following, an initial attempt will be made to approach television in order to work out what ac-tually constitutes this medium. Afterwards, the technical and institutional development of television is dealt with, before the development of programme forms is described. Finally, current developments resulting from the digitalization of television are presented.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46498268","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}
{"title":"\"Series Culture\" and Fandom in Game of Thrones: Check-in as an identity marker in Brazil and Portugal","authors":"Mateus Vilela","doi":"10.24140/ijfma.v4.n1.05","DOIUrl":"https://doi.org/10.24140/ijfma.v4.n1.05","url":null,"abstract":"","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47283227","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 will conceptually apply and analyze Gilles Deleuze’s concept of affection-image, using The Death of Louis XIV (2016), to determine what the affection-image depicts and how it depicts it. Deleuze’s concept is singular in its reconceptualization of the close-up shot where he removes the dimensions, i.e. size and scale, of the shot from its definition and instead argues that the meaning of the shot depends upon the value (quality and power) it manifests. Deleuze calls this value ‘the affect’, and ‘the affect’ is the singular requirement for an image to be categorized as affection-image.
{"title":"ALBERT SERRA’S THE DEATH OF LOUIS XIV (2016) ACCORDING TO DELEUZE’S CONCEPT OF AFFECTION-IMAGE","authors":"Lkhagvadulam Purev-Ochir","doi":"10.24140/ijfma.v3.n2.01","DOIUrl":"https://doi.org/10.24140/ijfma.v3.n2.01","url":null,"abstract":"This paper will conceptually apply and analyze Gilles Deleuze’s concept of affection-image, using The Death of Louis XIV (2016), to determine what the affection-image depicts and how it depicts it. Deleuze’s concept is singular in its reconceptualization of the close-up shot where he removes the dimensions, i.e. size and scale, of the shot from its definition and instead argues that the meaning of the shot depends upon the value (quality and power) it manifests. Deleuze calls this value ‘the affect’, and ‘the affect’ is the singular requirement for an image to be categorized as affection-image.","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49430762","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 provides an overview on the concept of musicality in fiction cinema language, understanding the comparative analysis of both art forms and considering cinema as a potentially musical construction. Furthermore, the examination of polyphonic musical textures and its methodical application in the formal analysis of Lucrecia Martel’s cinema (namely in her 2007 film The Headless Woman) provides a new perspective on the aesthetical values of the Argentinean filmmaker’s work with sound and image, which unveils other forms of assuming fiction film narration. KINO EYES – REFLECTION ON AND ABOUT FILMMAKING
{"title":"CINEMATIC POLYPHONY IN LUCRECIA MARTEL’S CINEMA THE MUSICALITY OF NARRATIVE FILM IN ‘THE HEADLESS WOMAN’","authors":"Jerónimo Sarmiento","doi":"10.24140/ijfma.v3.n2.02","DOIUrl":"https://doi.org/10.24140/ijfma.v3.n2.02","url":null,"abstract":"This paper provides an overview on the concept of musicality in fiction cinema language, understanding the comparative analysis of both art forms and considering cinema as a potentially musical construction. Furthermore, the examination of polyphonic musical textures and its methodical application in the formal analysis of Lucrecia Martel’s cinema (namely in her 2007 film The Headless Woman) provides a new perspective on the aesthetical values of the Argentinean filmmaker’s work with sound and image, which unveils other forms of assuming fiction film narration. KINO EYES – REFLECTION ON AND ABOUT FILMMAKING","PeriodicalId":36220,"journal":{"name":"International Journal of Film and Media Arts","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-12-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43604887","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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