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Acta Universitatis Sapientiae-Film and Media Studies最新文献

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Performativity and Worldmaking 表演和世界制造
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-10-01 DOI: 10.2478/ausfm-2019-0022
Á. Bakk
{"title":"Performativity and Worldmaking","authors":"Á. Bakk","doi":"10.2478/ausfm-2019-0022","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0022","url":null,"abstract":"The VR installation Hamlet Encounters is part of a larger project in which we try to find out what we can do with new technologies in live performances. In the case of Hamlet Encounters we are experimenting with virtual reality and motion capture. We try to combine these technologies, wondering what we can do with these and what these can do with us. In our practice as research project we primarily focus on the performative aspects of the media we use: how do media redefine our sense, play in the sense of affecting our senses, how can we make media also playful in the way we use them for building worlds, for staging, for self-referencing and self-reflecting?","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72526308","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}
引用次数: 2
Intermediality of Screens in Post-Media Assemblages 后媒体组合中屏幕的中间性
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-10-01 DOI: 10.2478/ausfm-2019-0015
Charu Maithani
{"title":"Intermediality of Screens in Post-Media Assemblages","authors":"Charu Maithani","doi":"10.2478/ausfm-2019-0015","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0015","url":null,"abstract":"Abstract In contemporary artworks of so-called post-media assemblage, screens can be argued to emphasize, interconnect and rearticulate relationships between various parts in various modalities of image-making and display. They can be understood to produce gesturality that maintains conditions of mediality, which is the sustenance of relations between different parts of the media ensemble. This paper is an attempt to understand screens by analysing the gesturality that they propagate and not just facilitate. For this purpose, the paper interrogates the intermediality of screens in contemporary media arts that rely on this gesturality. By closely analysing contemporary media art installations such as Solar Reserve (Tonopah, Nevada) (John Gerrard, 2014) and Shadow 3 (Shilpa Gupta, 2007), this paper elaborates a concept of intermediality as an unfixed state and describes in-betweenness as enabling an openness to continuously form, unform and deform relations with different entities, thereby producing a gestural modality.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87464118","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}
引用次数: 0
Veterans and Grannies. The Polyphony of Memory in Two Hungarian Documentary Films 老兵和老奶奶。两部匈牙利纪录片中的记忆复调
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-10-01 DOI: 10.2478/ausfm-2019-0017
Réka Sárközy
{"title":"Veterans and Grannies. The Polyphony of Memory in Two Hungarian Documentary Films","authors":"Réka Sárközy","doi":"10.2478/ausfm-2019-0017","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0017","url":null,"abstract":"Abstract The essay analyses the representation of polyphonic memory in two groundbreaking Hungarian documentary films, made thirty years apart: János and Gyula Gulyás’s I was at the Isonzo, too (Én is jártam Isonzónál, 1984–87) and Bálint Révész’s Granny Project (Nagyi projekt, 2017). The earlier film was made in the 1980s, under the state-socialist system, when doing memory work of both World Wars was limited, if not forbidden. The second film was made recently, in 2017. They differ from each other in many ways, but instinctively they chose the same solution for representing and working out traumas: through transnational dialogue. They focus on traumatic experiences of the past, changing national, so-called monologic memory into a broad perspective, putting Aleida Assmann’s (2005) theory of dialogic memory into practice.1","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76529985","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}
引用次数: 0
Sending Shivers Down the Spine. VR Productions as Seamed Media 让人脊背发凉。作为缝媒体的VR制作
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-10-01 DOI: 10.2478/ausfm-2019-0020
Á. Bakk
{"title":"Sending Shivers Down the Spine. VR Productions as Seamed Media","authors":"Á. Bakk","doi":"10.2478/ausfm-2019-0020","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0020","url":null,"abstract":"Abstract According to Rebecca Rouse’s concept of “media of attraction” (2016), the mediums of virtual reality have four characteristics: they are participatory, interdisciplinary, unassimilated and seamed. The author’s hypothesis is that even though 360-degree films and virtual reality experiences as seamed mediums are remediating the medium of film, they have the characteristics of the medium of live performance. She points out that the characteristics of performance art based on Fischer-Lichte’s taxonomy (2008), such as liveness and co-presence, are influencing the development of 360-degree films and virtual reality experiences. As an argument, she analyses three virtual reality productions created by performing artists, which operate with the specificity of intermediality and the longing for immersion, the main characteristic of virtual reality. These productions lean on the immediacy characteristics of the medium of film and performance by using cut-scenes, linear narratives, live streaming, but also by including the “human interface,” i.e., the actor, who ensures a higher level of absorption.1","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80322565","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}
引用次数: 3
In-Betweenness and Interactional Presence in Adrian Sitaru’s VR Play, Illegitimate Adrian Sitaru的VR游戏《illegal》中的中间性和互动性存在
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-10-01 DOI: 10.2478/ausfm-2019-0019
Otília Ármeán
{"title":"In-Betweenness and Interactional Presence in Adrian Sitaru’s VR Play, Illegitimate","authors":"Otília Ármeán","doi":"10.2478/ausfm-2019-0019","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0019","url":null,"abstract":"Abstract This paper will present the role of the loops and the peculiarities of the mixed reality experience in the case of the performance of Illegitimate (stage adaptation by Adrian Sitaru, based on an original text by Adrian Sitaru and Alina Grigore). The author argues that the loops, defined by Manovich as “a new narrative form appropriate for the computer age” are also the key for the possible reality switches and joinings.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78471370","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}
引用次数: 0
Blur 模糊
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-10-01 DOI: 10.2478/ausfm-2019-0012
M. Beugnet
{"title":"Blur","authors":"M. Beugnet","doi":"10.2478/ausfm-2019-0012","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0012","url":null,"abstract":"Abstract Keynote talk given at the conference Intermediality Now: Remapping In-Betweenness, organized at Sapientia Hungarian University of Transylvania, in Cluj-Napoca, Romania, between 19–20 October 2018, within the framework of the exploratory research project PN-III-ID-PCE-2016-0418, funded by the UEFISCDI (Executive Unit for Financing Higher Education, Research, Development and Innovation).","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90848533","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}
引用次数: 0
Television and Video Screens in Filmic Narratives: Medium Specificity, Noise and Frame-Work 电影叙事中的电视和视频屏幕:媒介特异性、噪音和框架
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-10-01 DOI: 10.2478/ausfm-2019-0016
A. Virginás
{"title":"Television and Video Screens in Filmic Narratives: Medium Specificity, Noise and Frame-Work","authors":"A. Virginás","doi":"10.2478/ausfm-2019-0016","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0016","url":null,"abstract":"Abstract The paper discusses pertinent aspects of the screen as a device of framing and re-ordering. Television and video screens introduced in filmic diegesis are attributed three main functions (spatial, temporal, and topical re-ordering) and are related to the relationships Gerard Genette establishes between first-order narrative and metadiegetic levels (1987), as well as to Lars Elleström’s extracommunicational and intracommunicational actual and virtual spheres (2018). The visibility through noise of the televisual and of the video media is theorized based on Sybille Krämer’s media theory (2015) and three pre-digital arthouse films: Videodrome (David Cronenberg, 1984), Irma Vep (Olivier Assayas, 1996), and Lost Highway (David Lynch, 1997).1","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84440632","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}
引用次数: 1
From Weimar to Winnipeg: German Expressionism and Guy Maddin 从魏玛到温尼伯:德国表现主义与盖伊·麦登
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-08-01 DOI: 10.2478/AUSFM-2019-0004
A. Burke
{"title":"From Weimar to Winnipeg: German Expressionism and Guy Maddin","authors":"A. Burke","doi":"10.2478/AUSFM-2019-0004","DOIUrl":"https://doi.org/10.2478/AUSFM-2019-0004","url":null,"abstract":"Abstract The films of Guy Maddin, from his debut feature Tales from the Gimli Hospital (1988) to his most recent one, The Forbidden Room (2015), draw extensively on the visual vocabulary and narrative conventions of 1920s and 1930s German cinema. These cinematic revisitations, however, are no mere exercise in sentimental cinephilia or empty pastiche. What distinguishes Maddin’s compulsive returns to the era of German Expressionism is the desire to both archive and awaken the past. Careful (1992), Maddin’s mountain film, reanimates an anachronistic genre in order to craft an elegant allegory about the apprehensions and anxieties of everyday social and political life. My Winnipeg (2006) rescores the city symphony to reveal how personal history and cultural memory combine to structure the experience of the modern metropolis, whether it is Weimar Berlin or wintry Winnipeg. In this paper, I explore the influence of German Expressionism on Maddin’s work as well as argue that Maddin’s films preserve and perpetuate the energies and idiosyncrasies of Weimar cinema.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83567287","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}
引用次数: 0
Rhythms of Images and Sounds in Two Films by Robert Bresson 罗伯特·布列松两部电影中的影像与声音节奏
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-08-01 DOI: 10.2478/ausfm-2019-0009
L. Alvim
{"title":"Rhythms of Images and Sounds in Two Films by Robert Bresson","authors":"L. Alvim","doi":"10.2478/ausfm-2019-0009","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0009","url":null,"abstract":"Abstract Robert Bresson did not only distribute musical excerpts and sounds in his films, but also often conceived the whole film running in a general rhythm, including the repetition and variation of shots in their contents and length. David Bordwell (1985) considered Bresson’s films as examples of the style centred “parametric mode of narration.” More than that, after Jean-Louis Provoyeur (2003), we consider that many shots in Bresson’s films have a characteristic of “denarrativization,” a conception based on musicality, devoid of representational constraints. One example is the tournament sequence in Lancelot of the Lake (Bresson, 1974), in which visual and sound elements are repeated as a “cell” with variations in length, angle of shot and with addition or suppression of elements. The author also analyses some aspects of The Trial of Joan of Arc (1962), in which the rhythmic sensation is created by the procedure of repetitive alternation of image, speech and space.1","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85488881","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}
引用次数: 0
Human-Alien Encounters in Science Fiction: A Postcolonial Perspective 科幻小说中的人类与外星人相遇:后殖民视角
IF 0.1
Acta Universitatis Sapientiae-Film and Media Studies Pub Date : 2019-08-01 DOI: 10.2478/ausfm-2019-0010
Borbála Bökös
{"title":"Human-Alien Encounters in Science Fiction: A Postcolonial Perspective","authors":"Borbála Bökös","doi":"10.2478/ausfm-2019-0010","DOIUrl":"https://doi.org/10.2478/ausfm-2019-0010","url":null,"abstract":"Abstract An (un)conventional encounter between humans and alien beings has long been one of the main thematic preoccupations of the genre of science fiction. Such stories would thus include typical invasion narratives, as in the case of the three science fiction films I will discuss in the present paper: the Invasion of the Body Snatchers (Don Siegel, 1956; Philip Kaufman, 1978; Abel Ferrara, 1993), The Host (Andrew Niccol, 2013), and Avatar (James Cameron, 2009). I will examine the films in relation to postcolonial theories, while attempting to look at the ways of revisiting one’s history and culture (both alien and human) in the films’ worlds that takes place in order to uncover and heal the violent effects of colonization. In my reading of the films I will shed light on the specific processes of identity formation (of an individual or a group), and the possibilities of individual and communal recuperation through memories, rites of passages, as well as hybridization. I will argue that the colonized human or alien body can serve either as a mediator between the two cultures, or as an agent which fundamentally distances two separate civilizations, thus irrevocably bringing about the loss of identity, as well as the lack of comprehension of cultural differences.","PeriodicalId":40721,"journal":{"name":"Acta Universitatis Sapientiae-Film and Media Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2019-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78547954","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}
引用次数: 0
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