AVANCA | CINEMA最新文献

{"title":"OOO Sound Art and Technology as Speculative Realism","authors":"Hugo Paquete","doi":"10.37390/avancacinema.2023.a526","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a526","url":null,"abstract":"This article presents a conceptual elaboration that was created from an interview with the philosopher Graham Harman. It makes linkages between art, technology, communication and philosophy while focusing on object-oriented ontology philosophy applied to sound art. The argument involves aesthetics and social contextual ideas such as post-digital, techno-cultural, and post-techno aesthetics. Examining how technology, as a technical, symbolic and contextual dominant object of material and symbolic meaning, affects society and the arts and impacts perception, by pointing out the analytical and philosophical differences between events as spectral, immanent forces with performative qualities and technological things as materials with atomic vibrations. The aim is to promote perspectives on hybrid-materialism and event with conceptual linkage in hybrid creative art forms focused on sound as the virtual nominator in both the analog and digital environments of an expanded reality. The analysis focuses on sound studies and digital media art, supporting those artistic mediums that employ hybrid materialism to varied degrees, as shown by the artistic examples that build specific conceptual reformulations of space, score and performativeness art research by creating metapolitical distinctions and extrapolations that are able to inspire notions about time, event and place that are crucial for time-based artists that rely on technology and computational infrastructures for performativity and theoretical exploration about time, sound , image and place.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"48 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450044","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":"The montage of “Cine Rabeca”: music, memory and ethnography in an expanded cinema experience.","authors":"Marcia Mansur","doi":"10.37390/avancacinema.2023.a485","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a485","url":null,"abstract":"“Cine Rabeca” is a documentary that expands onto the stage and blends live music with ethnographic archive. It is a cine-concert, where musicians Luiz Paixão and Renata Rosa are permanently on stage, dialoguing with their own filmic memories. During the performance, a new time is composed out of what is seen, heard and imagined. The passage of time is felt in the contrast between images of the rural world of Pernambuco, Brazil, in 1990-2000 and the image of the presence of the musicians on stage. In this cinematographic re-encounter with their trajectories, Paixão and Rosa improvise with their rabecas (fiddles) and recreate themselves. Through music, they circulate amongst rural and ancestral festivities and the narrative is permeated with the language of memory, which explores traces and reminiscences.Time and memory articulate themselves in a singular space that experiments with a form of collaboration between the languages of music, film, and anthropology. This paper explores the process of making this expanded documentary and how it has remained live during the last years, constantly transforming itself amongst the borders of the stage and the screen, between life and film. It shows a process of unfinishing that transcends the finalization of documentaries; of the very life that follows ethnographic recordings. ","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"87 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450117","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":"Da conceção à implementação: Como a ‘Mostra Cinema Sem Conflitos’ inspirou a mudança nas escolas Açorianas","authors":"Ricardo Braga Silva, J. Rodrigues, Ivan Roberto Gouveia","doi":"10.37390/avancacinema.2023.a521","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a521","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"96 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450261","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":"Poéticas da Reprodução: o espaço doméstico em Mother!, de Darren Aronofsky","authors":"T. Nunes","doi":"10.37390/avancacinema.2023.a501","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a501","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450408","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":"A Representação da Palavra em Tabu: A Story of the South Seas","authors":"Tiago Luís Minau Ramos","doi":"10.37390/avancacinema.2023.a486","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a486","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"29 5","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449316","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":"Para quem os passos que damos?","authors":"Cláudia Marisa","doi":"10.37390/avancacinema.2023.a475","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a475","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"39 7","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449516","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":"Canon doble sobre Casablanca: Reencuentros y despedidas. De Asignatura pendiente a Volver a empezar de José Luis Garci","authors":"Miguel García Victoria","doi":"10.37390/avancacinema.2023.a496","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a496","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"8 6","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139449810","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":"Aesthetics of Color in Afghan cinema","authors":"Abbas Mohammadi","doi":"10.37390/avancacinema.2023.a493","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a493","url":null,"abstract":"In the world of existence, everything takes its existence to be visible from the light. Light gives color and beauty to objects and creatures. Color gives them an expressive profile. When objects have color, they are seen better and the audience is more attracted to them. In many cases, manufacturers use colors to attract their buyers so that they can attract them to that product.This issue also exists in the cinema. Since the beginning of the cinema until today, all filmmakers have been trying to create a dream space for their audience so that they can convey their desired message to the audience in that space. Therefore, in different eras, new technologies entered the visual space of cinema. Color was one of the effects that entered the silver screen and changed the world of cinema. Color is like spice in food. Just as spice gives food lust, color gives soul and feeling to the image. Today, many filmmakers, apart from feeling and attractiveness, give meaning to the image through color. Because the image is a visual medium, the filmmaker can use the psychological states of colors to induce certain feelings of the scene and story to his audience.In the western world, the use of color and sense of color in the scene has become a common category and all filmmakers use it well, but this case has not grown much in the cinema of Central Asia, especially in the Middle East countries. In countries like Iran and Afghanistan, they cannot use color properly because many filmmakers in these countries do not know color properly, and this lack of knowledge about color in many cases makes them unable to use color correctly and have amazing effects. have it on the audience and convey the message to the audience.In many Central Asian films, the absence of color psychology in the films is clearly understandable. Few filmmakers like Asghar Farhadi in Iran try to use color correctly. But in Afghanistan, it can be said that there is no filmmaking that can use color in the right way. But in Indian cinema, they use color in an exaggerated manner, of course, it should be said that part of this exaggeration is due to the type of Indian culture that they are more interested in happy colors and in their country they have a special festival called the festival of colors. But in European and American cinema, color is used to convey the feeling of the scene and story. For example, in the movie Avatar, blue color can be seen in most of the film space. And it evokes a special feeling towards the scenes of the movie, or like Stanley Kubrick who uses colors with a very special skill in the movie «Eyes Completely Closed».Such scientific and meaningful uses are not seen in any of the Middle East films, especially in Iran and Afghanistan. In many cases, it can be attributed to the low level of study and understanding of color and the scientific concepts of color in cinema by Afghan filmmakers.","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"84 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450221","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":"Em Travessias com Sued Nunes e Safira Moreira: metáforas audiovisuais, cantos e contos de redistribuição estético-política","authors":"Scheilla Franca de Souza, Jorge Cardoso Filho","doi":"10.37390/avancacinema.2023.a476","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a476","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"95 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450279","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":"A linguagem sonora como qualidade narrativa no produto audiovisual","authors":"I. Moreira, P. Bastos","doi":"10.37390/avancacinema.2023.a535","DOIUrl":"https://doi.org/10.37390/avancacinema.2023.a535","url":null,"abstract":"<jats:p />","PeriodicalId":297336,"journal":{"name":"AVANCA | CINEMA","volume":"74 10","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139450437","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}