Journal articles on the topic 'Digital filmmaker'
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1
Decker, Todd. "The Filmmaker as DJ." Journal of Musicology 34, no. 2 (2017): 281–317. http://dx.doi.org/10.1525/jm.2017.34.02.281.
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Filmmaker Martin Scorsese’s Casino (1995) is structured around a compiled score of almost sixty popular music recordings. Scorsese himself, working with editor Thelma Schoonmaker and using digital editing tools for the first time, assembled and arranged a diverse body of pre-existing music into a unified score that plays for more than two of the film’s three hours. This article offers a close analysis of Scorsese acting as composer—crafting Casino’s compiled score in the manner of a DJ—and, in reciprocal fashion, editing film images and narrative to recorded music. Casino demonstrates highly varied, multivalent relationships between musical form and film form. Indeed, musical form proves a constituent element of Casino’s construction at multiple levels of magnification. The large-scale form of the score as a whole articulates the larger arc of Casino’s dual narrative. The strategic deployment of musical styles (from jazz to rock to pop) and the targeted use of lyrics as voiceover (often subtly deploying aspects of racial performance in popular styles) serve to differentiate narrative strands and fill out otherwise unspoken characterization. Scorsese builds several sequences in Casino on a direct, often audible relationship between song forms and narrative unfolding, creating song scenes in which compiled tracks heard as musical wholes grant a musical shape to discrete narrative units. Casino’s complex use of music does not, however, penetrate the inner lives of the film’s three primary characters, who seem unaware of the musical flow Scorsese employs to set their story dancing. The analysis draws upon the filmmaker’s own words about his creative process and offers select comparisons to other Scorsese films with compiled scores.
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Coover, Roderick, David Jhave Johnston, and Scott Rettberg. "The Poetics of Combinatory Cinema: David Jhave Johnston interviews Roderick Coover and Scott Rettberg." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 4, no. 1 (December 15, 2014): 108–29. http://dx.doi.org/10.7146/se.v4i1.20329.
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For the past several years filmmaker Roderick Coover and fiction writer Scott Rettberg have collaborated on a series of film and digital media projects that address climate change, environmental catastrophe, cross-cultural communication and combinatory poetics. Working between Philadelphia, USA, where Coover directs the graduate programme in Film and Media Arts at Temple University, and Bergen, Norway, where Rettberg is Professor of Digital Culture at the University of Bergen. Their projects, including The Last Volcano, Rats and Cats, Three Rails Live (with Nick Montfort) and Toxi•City, deal thematically with contemporary and past moments of environmental change and human loss, and formally with interdisciplinary practice and combinatory poetics. Coover and Rettberg were interviewed by digital poet and experimental filmmaker David Jhave Johnston, Assistant Professor in the School of Creative Media at City University of Hong Kong.
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Hanna, Fabiola, and Irene Lusztig. "Translating Interfaces in the Ms. Magazine Archive." Frames Cinema Journal 19 (February 18, 2022): 210–25. http://dx.doi.org/10.15664/fcj.v19i0.2386.
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Yours in Sisterhood is an iterative, multimodal media project that includes a 2018 feature length performative documentary, produced and directed by filmmaker Irene Lusztig, and a digital archive co-created by Lusztig and digital media scholar-artist Fabiola Hanna that is currently in production. While the digital YiS archive is still a work in progress, we put forward our work on this large-scale interactive project as a case study for considering methodologies and practices of archival translation as we move from original paper documents in an interface of folders and boxes to video footage to a browser-based digital archive. These multiple YiS translations provide a compelling case study because of their significant shifts in interpretation: from the librarian’s interface work of cataloguing, preserving, and organising the letters in folders and boxes, to the filmmaker’s interface work of editing the video readings into the form of a documentary, and finally to the current collaborative interface work of designing the video database and its query system that populates the online project. Such critical and scholarly attention to the translation of archives at the interface level will facilitate analysis and assessment of the labour, the decisions, and losses and gains of these types of translations.
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Pisters, Patricia. "The Filmmaker as Metallurgist: Political Cinema and World Memory." Film-Philosophy 20, no. 1 (February 2016): 149–67. http://dx.doi.org/10.3366/film.2016.0008.
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Compared to earlier waves of political cinema, such as the Russian revolution films of the 1920s and the militant Third Cinema movement in the 1960s, in today's globalized and digital media world filmmakers have adopted different strategies to express a commitment to politics. Rather than directly calling for a revolution, ‘post-cinema’ filmmakers with a political mission point to the radical contingencies of history; they return to the (audio-visual) archives and dig up never seen or forgotten materials. They reassemble stories, thoughts, and affects, bending our memories and historical consciousness. Following Deleuze and Guattari's geophilosophical ideas in A Thousand Plateaus filmmakers can be considered metallurgists. Discussing the work of Tariq Teguia, John Akomfrah and others, this article investigates several metallurgic strategies that have a performative effect in reshaping our collective memory and co-constructing the possibility of ‘a people to come.’
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Callens, Johan. "Anne-Marie Boisvert, Manon Oligny, and Thomas Israël: Three Artists in Search of Cindy Sherman." TDR/The Drama Review 54, no. 1 (March 2010): 39–58. http://dx.doi.org/10.1162/dram.2010.54.1.39.
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One dancer, one choreographer, one filmmaker. Together they recursively confront Sherman's by now famous, gender-inflected, photographic self-enactments, probing the conventions and lingering specificity, if any, of the media and art forms in our hybridized digital culture. In their intermedial performances, these media and art forms become the means and the objects of analysis.
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MacDonald, Scott. "Gentle Iconoclast: An Interview with David Gatten." Film Quarterly 61, no. 2 (2007): 36–44. http://dx.doi.org/10.1525/fq.2007.61.2.36.
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ABSTRACT Scott MacDonald talks with filmmaker David Gatten about his multi-film exploration of the life and times of colonial Virginian William Byrd II, Secret History of the Dividing Line, A True Account in Nine Parts, in which Gatten considers the development of print culture, the arrival of digital, and the material nature of cinema.
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Chamarette, Jenny. "Backdating the Crip Technoscience Manifesto." Film Quarterly 76, no. 2 (2022): 16–24. http://dx.doi.org/10.1525/fq.2022.76.2.16.
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This essay considers experimental filmmaker Stephen Dwoskin’s work as a lifelong process of technological activism and “knowing-making.” Using recent frameworks from Critical Disability Studies, Chamarette demonstrates how Dwoskin’s decades of activism parallel and in some cases pre-date the evolution of Disability Studies as it is currently situated. As an early adopter of digital and ‘cusp-of digital’ technologies (Hi-8 cameras, Mini-DV tapes, email, digital editing suites), Dwoskin’s creative work aligns with and backdates the “Crip Technoscience Manifesto” developed by Aimi Hamraie and Kelly Fritsch in 2019. Drawing on Dwoskin’s films and his archive, now housed at the University of Reading Special Collections (UK) Chamarette reframes Dwoskin’s late creative activity as tactics of technological adaptation, crip technoscience, and spheres of influence within digital and non-digital realms. These digital activisms ultimately give cause to reflect on the ambivalent, interdependent, friction-filled relationships between filmmaking, digitality and disability.
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Woodworth-Hou, Jason. "Reanimating the Master Narrative: How They Shall Not Grow Old Curates the Perception of Common Truth through CGI Animation." Animation 17, no. 3 (November 2022): 271–85. http://dx.doi.org/10.1177/17468477221131874.
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In 2014, the British Imperial War Museum (IWM) contracted New Zealand-based filmmaker, Peter Jackson, to use their audio and video archives to create a media-based memorial to the men who served in World War 1. The documentary film, They Shall Not Grow Old ( TSNGO), released in 2018, was the product of this collaboration. Jackson took on the project to better understand his own grandfather’s experience as a soldier at the Battle of the Somme. Weta Digital Studios, founded by Jackson, converted the standard WWI newsreel footage into a product that aligned to a modern audience’s perceptual sense of truth. Weta Digital redrew and colored each frame, a process that is strikingly similar to CGI animation. Curiously, Jackson, a filmmaker whose career has hinged on his ability to collaborate with CGI animators, does not describe his new historical film treatment as animation. This article first argues that TSNGO is following in the footsteps of previous CGI animated films, in particular those that have re-edited historical footage, but more importantly asks: why would Jackson prefer to keep the word ‘animation’ out of the discussion about his new historical documentary? The answer to this question leads us to a critical discussion about how animation has become both the preserver and ‘re-imaginer’ of existing historical archives.
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Oliva, Rodrigo, José Bidarra, and Denize Araújo. "Video and storytelling in a digital world: interactions and narratives in videoclips." Comunicação e Sociedade 32 (December 29, 2017): 459–76. http://dx.doi.org/10.17231/comsoc.32(2017).2772.
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This paper presents a study about narratives in music videos. It discusses the arrangements of audio-visual languages from settings established by characteristics of the media, emphasizing the role of platforms for the diffusion of information and entertainment such as YouTube. It highlights a dialogue within cinema’s own language and shows that, in contemporary scenarios, music videos actually tell stories. It is argued that contemporary music videos, in great majority, increase the duration of music, with pauses, performances of characters, insertion of dialogues and other structuring elements that are not typical of the classic and conventional paradigms of a language. For our purposes, the objects of this study are the music videos of Canadian filmmaker Xavier Dolan. The theoretical foundation is established through authors involved in debates around a culture of convergence, transmedia storytelling and interactions among the audio-visual languages.
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Hashim, Hasrul. "Techno-Creativity: The Implementation of DVFx as Creative Support Tools Among Filmmakers in Malaysia, India & Australia." Jurnal Komunikasi: Malaysian Journal of Communication 37, no. 1 (March 31, 2021): 196–208. http://dx.doi.org/10.17576/jkmjc-2021-3701-11.
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Previously, the use of digital visual effects (DVFx) only serves merely to fix or modify the damage or harmful elements in the post-production. Still, there are differences between improving the work and the creative effects in work. Subtracting part of the image can often be seen as a form of creativity in generating new image elements. DVFx is also seen as a form of creative effects. It is a fascinating field of study on 'adverse impact' or 'creative impact' in film production. Creative impact in the production process of film is likely to lead to a new assessment on the aspects of 'creativity.' The occurrence of technological changes that involve creative work will undoubtedly lead to a shift in creativity. Technology and creativity or techno-creativity are likely to represent a new creative possibility and measurement in film production using creative software as a support tool. This paper discusses the findings derived from in-depth interviews conducted with filmmakers, visual effects artists and supervisors from Malaysia, India, and Australia on implementing DVFx as creative support tools. The finding shows that DVFx functions as a techno-creative device in two main areas: ideation and implementation. These two aspects involve using DVFx as a tool for transforming the ideas and the imagination of a filmmaker into a reality on the screen. In other words, DVFx has acted as creative support tools (CST) to increase techno-creativity, especially in the area of visual presentation. Keywords: Creativity, digital visual effects, creative support tools, media technology, globalization.
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Bartliff, Zoe, Yunhyong Kim, Frank Hopfgartner, and Guy Baxter. "Leveraging digital forensics and data exploration to understand the creative work of a filmmaker: A case study of Stephen Dwoskin's digital archive." Information Processing & Management 57, no. 6 (November 2020): 102339. http://dx.doi.org/10.1016/j.ipm.2020.102339.
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Bao, Hongwei. "Sharing food, vulnerability and intimacy in a global pandemic: The digital art of the Chinese diaspora in Europe." Journal of Contemporary Chinese Art 8, no. 2 (November 1, 2021): 129–45. http://dx.doi.org/10.1386/jcca_00041_1.
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This article examines the digital artworks created by three Chinese diaspora artists based in Europe: Berlin-based queer filmmaker Fan Popo’s short digital video Lerne Deutsch in meiner Küche (‘Learn German in my kitchen’), London-based performance artist Zeng Burong’s performance Non-Taster and London-based writer David K. S. Tse’s digital radio play The C Word. All three artworks were created in 2020 during the pandemic and all deal explicitly with the issues of anti-Asian racism and cross-cultural understanding. All these artworks also engage with issues of food and culinary practices. Through an analysis of the three artworks, I suggest that making digital art about food can serve as a creative and culturally sensitive strategy to engage with pandemic politics. Indeed, in an era of rising nationalism and international antagonism, diasporic Chinese artists have turned to seemingly mundane, apolitical and non-confrontational ways such as creating digital artworks about food to engage with the public about important social and political issues. This functions as a creative and culturally sensitive strategy to conduct social and political activism and to enhance cross-cultural understanding. It also showcases the political potential and social relevance of digital art for a pandemic and even a post-pandemic world.
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Pedersen, Peter Ole, and Jan Løhmann Stephensen. "V-v-Vertov R-r-Re-Made." Acta Universitatis Sapientiae, Film and Media Studies 9, no. 1 (December 1, 2014): 77–106. http://dx.doi.org/10.1515/ausfm-2015-0004.
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Abstract The seminal work of pioneering avant-garde filmmaker Dziga Vertov, The Man with the Movie Camera (Chevolek s kino-apparatom, 1929) has given rise to a number of discussions about the documentary film genre and new digital media. By way of comparison with American artist Perry Bard’s online movie project entitled Man With a Movie Camera: The Global Remake (2007), this article investigates the historical perspective of this visionary depiction of reality and its impact on the heralded participatory culture of contemporary digital media, which can be traced back to Russian Constructivism. Through critical analysis of the relation between Vertov’s manifest declarations about the film medium and his resulting cinematic vision, Bard’s project and the work of her chief theoretical inspiration Lev Manovich are examined in the perspective of ‘remake culture,’ participatory authorship and the development a documentary film language. In addition to this, possible trajectories from Vertov and his contemporary Constructivists to recent theories of ‘new materialism’ and the notion of Man/Machine-co-operation is discussed in length.
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Tofighian, Omid. "Translation in Digital Times: Omid Tofighian on Translating the Manus Prison Narratives." Humanities 12, no. 1 (January 11, 2023): 8. http://dx.doi.org/10.3390/h12010008.
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On 12 February 2020, while on an international tour promoting Behrouz Boochani’s No Friend but the Mountains: Writing from Manus Prison, the translator of the book, Omid Tofighian, participated in a seminar at Utrecht University, organised by Australian academic, Anna Poletti (associate professor of English language and culture, Utrecht University). Poletti is also co-editor of the journal Biography: an interdisciplinary quarterly, which published a special issue on No Friend but the Mountains in 2020 (Vol. 43, No. 4). The seminar involved Poletti, Tofighian and translation scholar, Onno Kosters (assistant professor of English literature and translation studies, Utrecht University) in conversation. Iranian–Dutch filmmaker, Arash Kamali Sarvestani, co-director with Boochani of the film Chauka, Please Tell Us the Time (2017), was in attendance, as well as the Dutch publisher, Jurgen Maas (Uitgeverij Jurgen Maas, Dutch translation based on the English translation). The event was titled ‘No Friend but the Mountains: Translation in Digital Times’. The following dialogue, ‘Translation in Digital Times: Omid Tofighian on Translating the Manus Prison Narratives’, is derived from this seminar and focuses on Tofighian’s translation of the book from Persian/Farsi into English. The topics covered include the Dutch translation from Tofighian’s English translation, genre and anti-genre, horrific surrealism, Kurdish elements and influences, the Kurdish translation (from Tofighian’s English translation), translation as activism, process and technology.
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Golding, Dan. "The memory of perfection: Digital faces and nostalgic franchise cinema." Convergence: The International Journal of Research into New Media Technologies 27, no. 4 (July 28, 2021): 855–67. http://dx.doi.org/10.1177/13548565211029406.
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This article is concerned with the intersection of digitally augmented performance and nostalgia in contemporary Hollywood franchise cinema. The practice of ‘de-ageing’ or even resurrecting actors following their real-life deaths in films like Tron: Legacy (Joseph Kosinski, 2010), Terminator Genysis (Alan Taylor, 2015), Rogue One (Gareth Edwards, 2016), Blade Runner 2049 (Denis Villeneuve, 2017), Star Wars: The Rise of Skywalker (J.J. Abrams, 2019), and a large number of Marvel Cinematic Universe films, is now commonplace. Though such digital faces are primarily still found in franchise cinema, some exceptions ( The Irishman, Martin Scorsese, 2019; Gemini Man, Ang Lee, 2019) are telling in their franchise-like appeals to cinematic nostalgia. In particular, the digital face is most commonly aligned with the ‘legacy film’ (Golding, 2019), resurrected franchises interested in transferring franchise protagonists, themes and fandom across generations. The digital face therefore is an expression of the convergence of the digital with film, with the franchise, with the past and with memory. For these films, memory and nostalgia are meticulous exercises involving thousands of work hours of highly skilled CGI workers and cutting-edge technology. These highly technical, virtuosic digital faces are quite literally the face of this kind of nostalgia, and as Ndalianis observes, position the face ‘as façade that opens up a time-travel passageway between past and present’, inviting a seam-spotting game between audience and filmmaker (2014). Even if the digital face is perfect in its recreation, the audience’s knowledge of the impossibility of the performance leaves a trace of artistry. Accordingly, digital faces are creative, technical and financial decisions above all. This article outlines the uses of the digital face for memory, nostalgia and seriality in contemporary Hollywood franchise cinema, with a focus on representation and death.
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Munro, Kenny. "Explorer and Teller of Celluloid Tales: James Wilson – Veteran International Filmmaker and Producer for BBC Scotland." Scottish Affairs 23, no. 4 (November 2014): 522–39. http://dx.doi.org/10.3366/scot.2014.0049.
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The importance of documentary filmmaking as a living medium and its historic contribution to recording and preserving Scotland's culture and international viewpoint cannot be overstated. But before the digital age, where was all this film material stored and what has survived? The current debate on film restoration and public access is ongoing and is illustrated through this article with my personal introduction to veteran BBC film producer James (Jim) Wilson whose enterprising career has documented so much of the twentieth century. Reflecting on this unique creative achievement, the historical context and value of his films, and those of others to society, deserve closer scrutiny. Questions need to be raised regarding government policy on film preservation and how Lottery funding can further support film restoration. Clarification is required, in this case, of possible relaxation to certain BBC licensing agreements to stimulate cooperation. Discussions are in progress which highlight the growing demand for more democratisation and further public access to these celluloid assets which can be quickly forgotten or destroyed. It is therefore encouraging that new partnerships are being forged to identify and restore the vast film collections. Building on the very significant activities of Scottish Screen Archive/National Library of Scotland. They deliver services on several levels including online film archive research/restoration facilities and exhibitions. But there is still a great deal of work to be done in this field. The Wilson film legacy is one such area and a meeting with BBC has been arranged to discuss the future potential of celebrating this special film collection.
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Santoso, Vedy. "Kapital dan Strategi Garin Nugroho dalam Proses Produksi Film." Journal of Urban Society's Arts 4, no. 1 (April 30, 2017): 11–18. http://dx.doi.org/10.24821/jousa.v4i1.1492.
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Penelitian ini menganalisis struktur sosial Garin Nugroho sebagai sineas yang dilakukan berdasarkan paradigma sosial-kultural Pierre Bourdieu dengan pendekatan strukturalisme genetik. Teori strukturalisme genetik bertumpu pada empat konsep utama, yakni habitus, arena, kapital, dan strategi. Kajian ini diharapkan dapat melihat realitas sosial seorang sineas ketika memproduksi sebuah film. Data penelitian diperoleh dari dokumentasi media massa, katalog film, hasil wawancara narasumber, dan studi pustaka. Hasil penelitian menunjukkan bahwa terdapat dialektika internalisasi pada habitus Garin Nugroho yang menuntunnya untuk berani menutup luka lama kemudian membuka luka baru pada masa transisi budaya global. Dengan demikian, hubungan antara seni dan teknologi menjadi arena yang dipilih Garin Nugroho dalam memperjuangkan kreativitasnya. Dari arena perjuangan itu, ia memiliki beberapa jenis modal yang dipertukarkan dalam struktur sosialnya. Strategi yang diterapkan Garin Nugroho dalam menghadapi era digital adalah konsisten dalam menggunakan kecanggihan teknologi sebagai alat bantu untuk mewujudkan kreativitas melalui media film. Capital and Garin Nugroho’s Strategy on the Process of Film Production. This study analyzes the social structure of Garin Nugroho as a filmmaker that has been conducted based on the socio-cultural paradigm of Pierre Bourdieu with the genetic structuralism approach. The genetic structuralism theory rests on four main concepts, namely habitus, arena, capital, and strategy. This study is expected to be able to see the social reality of a filmmaker when a film is produced. Data were obtained from the documentation of mass media, film catalogues, informant interviews, and literature. The results of this research show that there is a dialectic of internalization in Garin Nugroho’s habitus which leads him to dare to close the old wounds then opens the new ones in the transition period of global culture. Therefore, the relationship between art and technology has been a chosen field by Garin Nugroho in struggling for the creativity. From the field of the struggle, Garin Nugroho has some kind of capitals that are exchanged in the social stucture. The strategy that is applied by Garin Nugroho in facing the digital era is consitent in using the power of technology as a tool to realize any creativity throgh the media of film.
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Strub, Whitney. "Sanitizing the Seventies." Feminist Media Histories 5, no. 2 (2019): 19–48. http://dx.doi.org/10.1525/fmh.2019.5.2.19.
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During the 1980s US feminist sex wars, pornography edited its own history, leaving a distorted record both less problematic and less queer than scholars have yet recognized. Academic inquiry into pornography coincided with home-video boom years, and research often took place in adult backrooms, necessarily because pornography was so poorly archived. Yet even as access has shifted from VHS to digital, the field has yet to reckon with how its interpretive frameworks were shaped by a material history in which the films that scholars watched were often altered from the versions patrons had seen in theaters. Gone from both straight and gay films were many transgressive sex acts that had frequently been staples of the genre, affecting the perceived oeuvre of nearly every hardcore filmmaker of the era. This article recovers the lost history of sexual media editing, arguing for a more carefully historicized interrogation of the commercial sources of our porn archives.
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Dimitriadis, Giorgos. "POSTCARD FROM ISTANBUL: DIGITAL RECONSTRUCTION OF THE CITY AS MEMORY IN TASOS BOULMETIS’S POLÍTIKI KOUZÍNA / A TOUCH OF SPICE / BAHARATIN TADI." Digital Age in Semiotics & Communication 1, no. 1 (November 28, 2018): 65–77. http://dx.doi.org/10.33919/dasc.18.1.5.
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Reconstructing space with the use of computer generated imagery (CGI) is commonly used in moviemaking to enhance the depicted pro-filmic reality, creating virtual spaces in which layers of the narrative that are more difficult to represent via realistic mise-en-scene, such as emotional conditions, can become visually explicit. In the 2003 film Politiki Kouzina / A Touch of Spice / Baharatin Tadi, the Istanbul-born Greek filmmaker Tasos Boulmetis digitally combines heterogeneous elements to reconstruct a virtual experience of his own sense and memory of Istanbul: the urban landscape in the film is a hybrid of on-location scenes of the modern city, CGI and enhanced coloring, digitally fused into a mural of historical and personal memories. By deliberately conveying a strong emotional tone to the audience, the film equates the notion of place with the experience one has of it: as the memory of mid-Twentieth century Istanbul is digitally recomposed, the city dissolves under the pressure of its emotionally charged reflection, and the general concept of “location” is redefined through individual perception. Digital technology is used not simply to bring to life a past urban setting, but becomes a tool for affect, thus revealing invisible layers of the filmic narrative.
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Riding, James, and Jack Wake-Walker. "Towards a cultural geopolitics: on the making of a documentary-poetry film about a post-conflict place." Fennia - International Journal of Geography 195, no. 1 (June 15, 2017): 61. http://dx.doi.org/10.11143/fennia.60213.
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Made in collaboration with an independent filmmaker and two poets, the documentary-poetry film Bridges <Bosnia 20> presents life in post-conflict Bosnia-Herzegovina, and delivers a clear message: the war in Bosnia is not yet firmly located in the past. Shot through a computer screen, Bridges <Bosnia 20> forces the viewer to witness the war in Bosnia and its aftermath via-the-gaze of an unknown spectator, sitting on an Apple Mac laptop. Through this modern technological distancing, we re-present here images of war in a digital age, question how war is usually packaged and represented on television, and in turn interrogate, through poetry, how war is traditionally remembered and memorialised. In so doing, Bridges <Bosnia 20> leads us to a conclusion, in Srebrenica, in 2015: in order to invest in the possibility of a just future after conflict, it is necessary to acknowledge the unthinkable realities to which traumatic experience bears witness.
Watch the film Bridges <Bosnia 20> here and visit the Bridges <Bosnia 20> website for more information
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Sommerfeld, Beate. "„Auf das Material kommt es an“ – Franz Friedrichs Roman Die Meisen von UUsimaa singen nicht mehr als Reflex auf den Umbruch ins digitale Zeitalter." Germanica Wratislaviensia 141 (February 15, 2017): 135–49. http://dx.doi.org/10.19195/0435-5865.141.9.
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Der Artikel behandelt den Roman Die Meisen von UUsimaa singen nicht mehr 2014 des Experimentalfilmers und Autors Franz Friedrich als Reflex auf den Umbruch vom analogen zum digitalen Zeitalter. Stark polarisierend bezieht der Roman zum Medienwandel Stellung und schlägt sich auf die Seite der Analogmedien Fotografie und Film, wobei er auf den Fotografie- und Filmdiskurs des 20. Jahrhunderts von Bela Balazs, Walter Benjamin bis hin zu Roland Barthes und Georges Didi-Huberman zurückgreift. Indem der Roman ein Gewebe aus photoästhetischen Topoi, Metaphern und Diskursen spinnt, modelliert er eine Ästhetik des Abdrucks und der Berührung, die auf Roland Barthes’ Modell des “vokalischen Schreibens” rekurriert. Das Unbehagen an der Repräsentation, das aus Friedrichs Roman spricht, geht mit einer nostalgisch gefärbten Sehnsucht nach dem Authentischen einher.“The material matters” — reflections on the upheaval from analogue to digital media in the novel The Tits of Uusimaa Don’t Sing Any More by Franz Friedrich The purpose of the article is to show how literary texts reflect upon the upheaval from analogue to digital media using the example of the novel The Tits of Uusimaa Don’t Sing Any More by the experimental filmmaker and author Franz Friedrich 2014. Friedrich approaches the technological shift from analogue to digital and the transforming landscape of media from a critical viewpoint by looking back at the early 20th-century scenario of intermedial exchange. Doing so, he refers to the 20th-century media discourse Béla Balázs, Walter Benjamin to Roland Barthes and Georges Didi-Huberman, scrutinizing and redefining analogue media by referring to various topoi, metaphors the analogue as a mental imprint of the real. Friedrich confronts the representation paradigm of literature to the aesthetic of contact and resonances, strongly related to Roland Barthes’ concept of “vocal writing”.
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Burtt, Jon, Katie Lavers, and Iqbal Barkat. "Introduction and Interview: A multi-arts project." Performing Islam 8, no. 1 (December 1, 2019): 157–71. http://dx.doi.org/10.1386/pi_00009_1.
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Abstract In this article digital artist and filmmaker Iqbal Barkat discusses his new work Terrorist/Apostate, a multi-arts project, with scholars Katie Lavers and Jon Burtt. Terrorist/Apostate is based on the lived experience of his collaborator, Lebanese Australian actor Fadi Alameddin. It explores the tensions that arise as the central character begins to question his faith and his identity as a Muslim in Western Sydney. Barkat discusses how the play is informed by the critical discourse between different, often polarized, readings of Islam across a wide range of media. In particular he suggests that contemporary discussions of Islam by Muslim writers including feminists, humanitarians, LBGTI community members, and religious scholars reveal a more complex and nuanced idea of Islam than the reductive 'popular critiques' presented by many western commentators, and that authors such as Tariq Ali, Fatema Mernissi, and Nawal El Saadawi engage with the notion that there never has been a single idea of what constitutes Islam, but rather 'a plurality of Islams'. Through a wide-ranging open-ended interview process Barkat discusses this critical discourse about contemporary Islam in the context of this important new theatre work.
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Glowczewski, Barbara. "Lines and Criss-Crossings: Hyperlinks in Australian Indigenous Narratives." Media International Australia 116, no. 1 (August 2005): 24–35. http://dx.doi.org/10.1177/1329878x0511600105.
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The issue of an ethical approach to pleasure does not imply a religious or moral order, but a constant re-evaluation of how each image or representation of any contemporary culture (Indigenous, musical, professional, digital, etc.) impacts on social justice, equity, tolerance and freedom. Two attempts of anthropological restitution developed with Aboriginal peoples for a mixed audience are presented here. The first is a CD-ROM ( Dream Trackers: Yapa Art and Knowledge of the Australian Desert), focused on one Central Australian community (Lajamanu in the Northern Territory), while the second is an interactive DVD ( Quest in Aboriginal Land) based on films by Indigenous filmmaker Wayne Barker, juxtaposing four regions of Australia. Both projects aim to explore and enhance the cultural foundations of the reticular way in which many Indigenous people in Australia map their knowledge and experience of the world in a geographical virtual web of narratives, images and performances. The relevance of games for anthropological insights is also discussed in the paper. Nonlinear or reticular thinking mostly stresses the fact that there is no centrality to the whole but a multipolar view from each recomposed network within each singularity, a person, a place (a Dreaming in the case of Aboriginal cultures), allowing the emergence of meanings and performances, encounters, creations as new original autonomous flows. Reticular or network thinking, I argue, is a very ancient Indigenous practice but it gains today a striking actuality thanks to the fact that our so called scientific perception of cognition, virtuality and social performance has changed through the use of new technologies.
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Yecies, Brian, Ae-Gyung Shim, and Ben Goldsmith. "Digital Intermediary: Korean Transnational Cinema." Media International Australia 141, no. 1 (November 2011): 137–45. http://dx.doi.org/10.1177/1329878x1114100116.
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Since censorship was lifted in Korea in 1996, collaboration between Korean and foreign filmmakers has grown in both extent and visibility. Korean films have been shot in Australia, New Zealand and mainland China, while the Korean digital post-production and visual effects firms behind blockbusters infused with local effects have gone on to work with filmmakers from greater China and Hollywood. Korean cinema has become known for its universal storylines, genre experimentation and high production values. The number of exported Korean films has increased, as has the number of Korean actors starring in films made in other countries. Korea has hosted major international industry events. These milestones have facilitated an unprecedented international expansion of the Korean film industry. With the advent of the ‘digital wave’ in Korea – the film industry's transition to digital production practices – this expansion has accelerated. Korean film agencies – the pillars of the national cinema – have played important parts in this internationalisation, particularly in promoting Korean films and filmmakers outside Korea and in facilitating international events in Korea itself. Yet, for the most part, projects involving Korean filmmakers working in partnership with filmmakers from other countries are the products of individuals and businesses working outside official channels. That is, they are often better understood as ‘transnational’ rather than ‘national’ or ‘international’ projects. In this article, we focus on a range of collaborations involving Korean, Australian, New Zealand and Chinese filmmakers and firms. These collaborations highlight some of the forces that have shaped the digital wave in the Korean film industry, and illustrate the increasingly influential role that the digital expertise of Korean filmmakers is playing in film industries, both regionally and around the world.
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Moseng, Jo Sondre, and Håvard Andreas Vibeto. "Double Allegiance: Digital Natives as Filmmakers." Nordic Journal of Digital Literacy 7, no. 04 (December 14, 2012): 236–52. http://dx.doi.org/10.18261/issn1891-943x-2012-04-02.
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Barnes, Heather L. "Digital Curation and Contemporary Documentary Filmmaking." Preservation, Digital Technology & Culture 51, no. 4 (December 1, 2022): 141–54. http://dx.doi.org/10.1515/pdtc-2022-0021.
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Abstract Documentary films have evolved considerably since 1922s Nanook of the North. Fans of nonfiction now stream multi-episode documentaries on platforms like Netflix or catch a feature at one of many documentary-centered film festivals around the world. Inexpensive video cameras and internet distribution have expanded the documentary film universe exponentially. From 1-min films to feature-length theater releases, moviegoers around the world have embraced this diverse and growing genre. To the benefit of aspiring filmmakers, documentaries can now be filmed on a wide array of digital video devices, including smartphones, and edited inexpensively. Given this abundance, it may seem counterintuitive that, from a preservation perspective, the documentary film genre faces substantial risks. Research indicates that independent filmmakers lack access to resources that would ensure the long-term stewardship of their works (Academy of Motion Picture Arts and Sciences 2012). This research project examines documentary film production through the lens of digital curation. It describes filmmakers’ data practices and proposes a data curation model designed to guide filmmakers and film archives in developing data management plans similar to those currently used by researchers in the sciences. The proposed data curation model reflects the influence of the growing research data management field and integrates components related to digital storage, copyright, publishing, context, and file organization.
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Bégin, Richard. "Digital Traumascape." Space and Culture 17, no. 4 (August 19, 2014): 379–87. http://dx.doi.org/10.1177/1206331214543868.
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Ever since its much noticed use in the 1973 film Westworld (Michael Crichton, USA, 1973) CGI (computer-generated imagery) has been continuously altering cinematic perception of reality. One of the major changes concerns the production of space. Though CGI is regularly employed to create fantasy worlds or utopian landscapes, it is worth noting that more and more filmmakers are turning to it in order to produce contemporary landscapes of devastation brought about by an atomic, military, or environmental catastrophe. Films such as Wall e (Andrew Stanton, USA, 2008) or 9 (Shane Acker, USA, 2009) are symptomatic in this respect of the aesthetic importance filmmakers now attach to the use of CGI for the representation of devastation. This phenomenon, which can be described here as a “new aesthetic of disaster,” leads us to examine the concept of “Traumascape” in connection with current digital culture, and more particularly in relation to the cinematic “virtualization” of spatial reality. In our view, this “virtualization” allows for a visual “exponentiation” of said reality, thus making it ascend to the power of the “Traumatic Real” in which originates the enigmatic sublimeness of space. Generally speaking, our article intends to analyse the production of digital traumatic space in cinema and to demonstrate its novel relationship with the sublime.
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Rozensher, Susan G. "Faculty As Filmmakers: On The Cutting Edge Of Classroom Technologies." College Teaching Methods & Styles Journal (CTMS) 3, no. 1 (July 22, 2011): 19. http://dx.doi.org/10.19030/ctms.v3i1.5271.
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Digital video equipment and studios newly available for faculty use can be incorporated into the technological repertoire of college faculty, enabling professors to customize and enhance the learning experience of their students. Todays students are particularly attuned to analyzing visual images and data, so the use of customized films in the classroom makes very good sense from a pedagogical standpoint. The present paper examines the lessons learned from the process of producing a documentary-style digital video that serves as the centerpiece of a thought-provoking learning module for the introductory course in marketing.
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Stanton, Christine Rogers, Brad Hall, and Lucia Ricciardelli. "Cross-Cultural Digital Storywork: A Framework for Engagement with/in Indigenous Communities." Engaged Scholar Journal: Community-Engaged Research, Teaching, and Learning 2, no. 1 (July 29, 2017): 247–66. http://dx.doi.org/10.15402/esj.v2i1.209.
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While Indigenous peoples have long urged attention to Six Rs (respect, relevance, reciprocity, responsibility, relationality, and representation) that are important to community-engaged work, application of these principles has been sporadic within the filmmaking industry. Many Indigenous communities do not have the technical expertise and/or resources needed to support professional quality audiovisual production. As a result, they rely on predominantly White filmmakers from beyond the community. Unfortunately, mainstream filmmaking practices have historically demonstrated a disregard for Indigenous ways of knowing, and a scarcity of meaningful relationships between filmmakers and community members has further contributed to a legacy of insensitive filmmaking within Indigenous contexts. In addition, internet-based distribution of cultural content raises questions about post-production sovereignty. In this project, Tribal College (TC) students and faculty partnered with students and faculty from a Predominantly White Institution (PWI) to develop culturally sustaining and revitalizing documentaries using storywork, digital storytelling, ethnocinema, and community-centered participatory research. Throughout the Digital Histories Project, TC participants gained technical expertise, PWI participants learned about culturally sustaining/revitalizing filmmaking, and faculty leaders identified ways to support use of the Six Rs within social science, history, and teacher education. Results offer methodological and pedagogical insights for scholars, educators, tribal leaders, and filmmakers.
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Geuens, Jean-Pierre. "The Digital World Picture." Film Quarterly 55, no. 4 (2002): 16–27. http://dx.doi.org/10.1525/fq.2002.55.4.16.
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For the Hollywood industry, the move from film to digital merely involves the replacement of one medium by another. However, this technological shift potentially changes cinema as we know it. Not only do digital cameras allow for an unprecedented ease in capturing content, but digital nonlinear editing systems make it possible to manipulate the footage retroactively. A vast array of special effects can transform the nature of the image in that each frame can be individually modified. The ability to master every pixel undoubtedly seduces filmmakers to exert absolute and perfectionist control. Yet digital filmmaking also opens up avenues for visual and narrative innovations.
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Stewart, Michelle. "Of Digital Selves and Digital Sovereignty: Of the North." Film Quarterly 70, no. 4 (2017): 23–38. http://dx.doi.org/10.1525/fq.2017.70.4.23.
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At its Canadian premier, Dominic Gagnon's Of the North (2015) launched a passionate debate regarding the ethics of image appropriation and digital filmmaking about Indigenous communities. Of the North follows Gagnon's “natively” digital method, which involves the sampling and montage of public domain images and sounds posted by internauts with the stated intent of documenting how people represent themselves online. In a controversy that crystallized around questions of “digital sovereignty,” Inuit critics decried the recontextualization of personal video posts by a film, they argued, that did not promote an Inuit view of Inuit experience. This article addresses the ways in which Gagnon's digital method collapsed cultural contexts, bringing to light divergent cultural and generational expectations regarding digital presence and sovereignty. An analysis of the film's heated reception and new digital works by young Indigenous filmmakers suggests an intercultural ethics for visual ethnographies.
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Herbert, Emilie. "Black British Women Filmmakers in the Digital Era: New Production Strategies and Re-Presentations of Black Womanhood." Open Cultural Studies 2, no. 1 (September 1, 2018): 191–202. http://dx.doi.org/10.1515/culture-2018-0018.
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Abstract The story of Black women in British mainstream cinema is certainly one of invisibility and misrepresentations, and Black women filmmakers have historically been placed at the margins of British film history. Up until the mid-1980s, there were no Black female directors in Britain. Pioneers like Maureen Blackwood, Martina Attille and Ngozi Onwurah have actively challenged stereotypical representations of Black womanhood, whilst asserting their presence in Black British cinema, often viewed as a male territory. In the 2010s, it seems that the British film industry remains mostly white and masculine. But the new millennium has brought a digital revolution that has enabled a new generation of Black women filmmakers to work within alternative circuits of production and distribution. New strategies of production have emerged through the use of online crowdfunding, social media and video-sharing websites. These shifts have opened new opportunities for Black women filmmakers who were until then often excluded from traditional means of exhibition and distribution. I will examine these strategies through the work of Moyin Saka, Jaha Browne and Cecile Emeke, whose films have primarily contributed to the re-presentation of Black womanhood in popular culture.
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Vélez-Serna, María A. "Resisting extractive uses of the archive in Colombian experimental non-fiction." Frames Cinema Journal 19 (February 18, 2022): 13–42. http://dx.doi.org/10.15664/fcj.v19i0.2380.
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In the first two decades of the 21st century, a cluster of Colombian filmmakers developed a distinctive body of work engaging with the country’s histories of violence through critical documentary and experimental devices. A nuanced use of appropriated footage is a recurrent feature in these works, signalling their engagement with historical events through mediated representation and a ‘suspicion of the archive’ (Suárez 2020, 542). This paper identifies distinct patterns in the filmmakers’ relationship to the materiality of archive materials, focusing on selected works by Camilo Restrepo, Laura Huertas Millán, and Juan Soto. It argues that the remediation of digital found footage, personal and private archives enacts reflexive and distancing strategies in order to obstruct extractivist uses of images. In their choice and use of appropriated and archival moving images, filmmakers grapple with their own social and geographic positionality in ambiguous ways.
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Rospitasari, Marina. "Youtube as alternative media for digital activism in documentary film creative industry." Jurnal Studi Komunikasi (Indonesian Journal of Communications Studies) 5, no. 3 (November 20, 2021): 665–92. http://dx.doi.org/10.25139/jsk.v5i3.3779.
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The development of the digital world provides ample scope to activists who are also engaged in Documentary Film Industry. In line with the democratic and deliberative spirit, YouTube, one of the social media platforms, has become an alternative media with a strategic positioning to be used by film activists to distribute their works. This research applied literature review and descriptive quantitative content analysis as a methodology. Based on alternative media theory, YouTube is alternative media that filmmakers utilise in the documentary film creative industry. Documentary films are products of the film industry and aspiration, identity struggle, and artistic expression. As a media representation of communication technology, YouTube provides ample opportunities for art activists to convey their critical ideas to voicing marginal groups’ aspirations. Based on reviewing the Watchdoc YouTube account, this research findings that YouTube supports filmmakers to develop interactive documentary and collaborative actions with other strategic stakeholders, such as Production House, NGO, individual activists, social communities, and educational institutions. According to the practising of digital activism, this phenomenon gives another perspective about building an activist network. Activism through the creative documentary industry is not reflected as people mobilisations but building engagement through the product (documentary film).
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Petkovic, Dusan. "Notes from Notes on Blindness: The challenges of the in-house1 film production model in independent cinema." Scene 6, no. 2 (December 1, 2018): 121–31. http://dx.doi.org/10.1386/scene_00013_1.
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This article, derived from a larger ethnographic research created around the production of the award-winning independent film Notes on Blindness (2016) and conducted by a researcher active as a film professional, explores the deeper consequences of choosing to pursue a production ‘in-house’. Through participant observation, Actor-Network Theory and negotiation between film practice and research, the researcher finds independent filmmakers caught between the opposing trends of high-end industry and the digital economies. The organization forms observed in this article stand opposite to the prevalent globalized creative labour trends motivated by the internet and new technologies, and can best be described as a revival of Richard Sennett’s craft workshop in the digital era. These are ultra-dense creative spaces where craftspersons nurture their creative impulses and shield them from the negative aspects of the technological and economic upheaval. In the hope that the findings will inform future filmmakers in the role of this specific type of organization in delivering the intended output, this article offers insights beyond the industry self-avowal and sales pitch.
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Erlianto, Reviansyah, and Hana Faridah. "Perlindungan Hukum Pembajakan Film Digital." Ajudikasi : Jurnal Ilmu Hukum 6, no. 2 (December 27, 2022): 211–32. http://dx.doi.org/10.30656/ajudikasi.v6i2.5469.
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Cinematography is one of the copyrighted works that are included in the scope of works that are protected in the Copyright Law, therefore the state needs to protect film works, especially domestic films. In the case of rampant acts of digital film piracy, resulting in moral and economic losses to the creators or filmmakers, of course the need for legal protection by the state for them. The purpose of this study is to understand the existence of the state in copyright protection related to the phenomenon of film piracy, and to compare regulations related to copyright between Indonesia, Malaysia, and South Korea. The author conducts legal comparisons and uses normative legal research methods in the form of secondary data that are combined through a literature study. The results obtained are that the three countries through their respective regulations regulate and protect all forms of creation produced through IPR. And the need for the government's role in educating the public in appreciating copyright and copyrighted works.
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Bolter, Jay David. "Transference and Transparency: Digital Technology and the Remediation of Cinema." Intermédialités, no. 6 (August 10, 2011): 13–26. http://dx.doi.org/10.7202/1005503ar.
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New digital forms, particularly computer and video games pose a challenge to the cultural status that film has enjoyed for decades. This challenge provoked an anxiety about new media reflected in a series of films in the 1990s, including eXistenZ and The Matrix. Hollywood filmmakers have responded to the challenge with a two fold strategy: they have adopted computer-graphic special effects, while maintaining a commitment to linear narrative and transparent representation. Recently, the DVD has led the film industry to explore hybrid forms of representation and even interactivity.
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Coppola, Antoine. "Epistolary Enunciation in Contemporary Fiction Films in Asia: A Typological Essay." Área Abierta 19, no. 3 (November 4, 2019): 401–17. http://dx.doi.org/10.5209/arab.63968.
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In Asia, the socio-linguistic history has sometimes made blossom the epistolary enunciation on the screen and has sometimes made it whiter. Melodramas developed the oralised destiny-letters as hinges of dramatic narration. Even a cinema under communist regime like that of North Korea maintains this model but by diverting it to the profit of his supreme epistolarian and leader. Starting from the 1990s, filmmakers like Shunji Iwai and Jeong Jae-eun screen the letters by assigning them a veridiction power in conflict: social/persona. Wong Kar-wai extends the epistolary enunciation to the whole narrative structure of the voices over of his films as memory interiorities. Finally, the transition to digital and virtual communication spaces has led filmmakers like Hideo Nakata and Jia Zhangke to underline the hauntological distance, spectral in Derrida’s sense; distance linked to the power of invisible big communicators which become inevitable thirds at the heart of all exchanges.
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Olsson, Maria, and Anne-Li Lindgren. "The Role of Digital Cameras in Child and Researcher Encounters in Preschool." Video Journal of Education and Pedagogy 4, no. 1 (December 5, 2019): 99–115. http://dx.doi.org/10.1163/23644583-00401004.
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The aim of this article is to analyze how a researcher’s use of digital cameras, with children in preschool, affects the children’s becoming as filmmaking subjects. The material consists of 12 months’ digital videography, during which the researcher took part in children’s own filmmaking. The authors used conceptual tools from Deleuze’s (1986) film theory to analyze an encounter between two children and a researcher as filmmakers. The analysis demonstrates how turning towards and turning away in relation to human (children and the researcher) and non-human (digital cameras, rhythm, music, light) actors actualizes admiration and desire in varying ways. The authors pay special attention to the children’s acting with abstract, constantly moving compositions. The article highlights how the children and the researcher produce different, yet related becomings using digital cameras. Acknowledging such connections between children’s mingling with human and non-human actors provides ways to understand how cameras actualize the potential to decolonize childhood by decomposing and recomposing educational settings.
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Savelieva, Elena N., Valeriya E. Budenkova, and Alexandra V. Presnyakova. "TOMSK AMATEUR FILMMAKERS' FILM PRODUCTION AS A PROSUMER PRACTICE." Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, no. 39 (2020): 103–16. http://dx.doi.org/10.17223/22220836/39/10.
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Regional amateur film production is discussed in the article. The specifics of this phenomenon are determined by two factors: the territorial affiliation and the unprofessional nature the amateur filmmakers activities making films outside the official film studios systems. The spread of film ama-teurism in the 21st century is driven by the development of digital technologies that simplify the film production process. However, the place and importance of amateur filmmakers in modern culture are not adequately investigated, which actualizes this study. The purpose of the article is to reveal the specifics of the production and artistic activities of Tomsk amateur directors. The author's hypothesis is that regional cinema is not only a form of amateur creativity but also prosumers activity. The novelty of the study is determined, firstly, by the attention to the film industry of the Tomsk region, secondly, the original author's approach, considering the activities of amateur directors in the context of the new production paradigm of prosumerism. The methodological basis of the study is the sociocultural approach, film appreciation and study of empiric material (short features, indie cinema, documentary, web-series). The study is constructed as follows: signs, which point to the prosumer character of the Tomsk cinema environ is identified. As a result a set of assertions confirming the involvement of amateur film makers in new forms of DIY practices is formulated. 1) Amateur filmmakers multifunctional activities redound to the blurring of the distinction between production and consumption. 2) It is not in doubt, that is voluntary labor, but the fact that it is unpaid labor is not an essential condition, due to the large economic costs of film production. 3) For Tomsk's amateur directors an unstructured and decentralized organization of the production process is typical. 4) Almost all filmmakers have their own or given means of production. 5) The product specifics (film text) are determined by the individual optics of the author and by his regional belonging. 6) The transformative role of film amateurism is expressed in influencing the identity of its participants and in shaping the cultural identity of the region. The authors conclude that the activity of Tomsk's amateur film production contributes to the cul-tural specifics of the region, influences the development of regional identity, and contributes to the formation of new social ties. This non-profit environ based on the personal enthusiasm of people inter-ested in creative self-realization leads to the prosumers practice extension as a way to overcome the negative manifestations of a consumer society.
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Brown, William. "Non-Cinema: Digital, Ethics, Multitude." Film-Philosophy 20, no. 1 (February 2016): 104–30. http://dx.doi.org/10.3366/film.2016.0006.
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In this article I propose the concept of ‘non-cinema’. The term points to that which is excluded from cinema, and accordingly I seek to explore the various reasons for these exclusions, in particular the political/ideological ones, together with how these exclusions are manifested on an aesthetic level. Instead of André Bazin's founding question regarding what is cinema, therefore, this essay asks what cinema is not – and why. This question is of redoubled importance in an age of technological change: not only are nearly all films now not made using the traditional equipment of filmmaking (analogue cameras, linear editing systems, polyester film stock), but nor do they get exhibited in traditional theatrical venues (instead circulating on DVD and related formats, and online). On a related note, increasing numbers of filmmakers actively are moving away from feature filmmaking, e.g. into television. The essay focuses in particular on ‘non-cinematic’ works by Philippine director Khavn de la Cruz and American director Giuseppe Andrews. Formally, I argue that their films deliberately embrace that which is perceived as non-cinematic in order to put forward what Argentine philosopher Enrique Dussel might define as a ‘barbarian’ film-philosophical vision of the world, which is reminiscent of Antonio Negri's concept of multitude, and which also has an ethical dimension in that it proposes the inclusion of the overlooked and the dispossessed, and of the darkness that necessarily accompanies the light.
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Alamouti, David. "The digital ethical space: towards a transnational documentary ethics, a filmmaker’s point of view." Transnational Screens 11, no. 2 (February 28, 2020): 103–20. http://dx.doi.org/10.1080/25785273.2020.1734305.
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Wessels, Josepha Ivanka. "Video Activists from Aleppo and Raqqa as ‘Modern-Day Kinoks’?" Middle East Journal of Culture and Communication 10, no. 2-3 (2017): 159–74. http://dx.doi.org/10.1163/18739865-01002005.
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The popular uprising that began in Syria in 2011 generated an unprecedented number of YouTube videos recording events in Syria; this emphasized how the social media platform had become an important alternative space for news and information, a space beyond the control of the government. In this article, I address the role of Syrian video activism in the Syrian revolution, and pay particular attention to why young Syrian anti-regime protesters started recording and uploading their videos on YouTube. As such, I do not focus on technology or the medium per se, but on the peoples’ motivations—what led them to upload digital video content as testimonies of revolutionary events and violence. Based on observation of verified YouTube clips, field visits to Turkey and Syria and semi-structured interviews with Syrian video activists between the years 2014 and 2016, I suggest that Syrian video activists can be seen as revolutionary filmmakers similar to the twentieth-century ‘Kinoks’, or kino-ki, that formed part of Dziga Vertov’s Soviet filmmakers collective whose radical experiment aimed to bridge social revolution and realist cinematic practice (Tomas 1992) and document reality ‘As It Is’.
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Mohamad Rasit, Rosmawati. "Creative Content of Shariah-Compliant Short Film in The Digital Media Evolution." Malaysian Journal of Social Sciences and Humanities (MJSSH) 7, no. 3 (March 10, 2022): e001369. http://dx.doi.org/10.47405/mjssh.v7i3.1369.
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There are advancements in creative work, particularly for short films in the media domain now. The production of short films undergoes digitalisation transformation that promotes the evolution of brand-new media technologies. Nevertheless, the creation of shariah-compliant short film content creates a debate and becomes a polemic among the country’s content creator. Nonetheless, shariah-compliant short films grab digital media audiences’ attention, such as MTAS Production, Mr Kokom and Syahmi Sazli Production. The discussion related the writing of shariah-compliant creative content scripts from the aesthetic aspect of Takmilah Theory. Thus, this paper aimed to identify shariah-compliant elements as the basis for content formation for short films. Thematic analysis of shariah-compliant elements worked as a primary reference for short filmmakers to plan and organise the content that could meet the needs of the audience. Looking at the marketability of shariah-compliant works through the evolution of digital media, it indicates that the creative community and industry in Malaysia accepts this reform.
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An, Dong. "Technology-driven Virtual Production." Revista FAMECOS 29, no. 1 (August 5, 2022): e43370. http://dx.doi.org/10.15448/1980-3729.2022.1.43370.
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The “subversive” technological drive of game engines for virtual film production is gradually being valued by filmmakers. This technical advantage is manifested in the game engine’s (1) real-time rendering of final pixels (speed and image quality), (2) “post-production in advance” and multi-pipeline for project production, (3) open-source code sharing and plug-ins for VFX. Based on the advantages, this article takes the mainstream Unreal Engine (UE) and Unity as the research objects to clarify the application prospects of game engines in four aspects: digital humans with high fidelity, real-time ray tracing in complex scenes, in-camera VFX, and remote collaboration in the post-pandemic era.
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Thoma, Andrea. "In-Between Images: Where is the Ground?" Acta Universitatis Sapientiae, Film and Media Studies 17, no. 1 (October 1, 2019): 45–61. http://dx.doi.org/10.2478/ausfm-2019-0014.
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Abstract Joan Jonas’s large survey exhibition at Tate Modern (2018) highlighted the contemporary relevance of this pioneer of performance art in her juxtapositions of analogue and virtual methods. Her process often relies on a ground or stage where physical remnants of her performances are tangible. Drawing from these insights and exploring figure-ground relations through a selection of works by various artists and filmmakers, this article aims to challenge Hito Steyerl’s polemic that we might not need a ground within contemporary virtual image worlds. The consideration of case studies will be informed by philosophical reflections as to the relevance and scope of the idea of ground within the post-digital era.
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Abet, Madzlan, Nur Khalida Binti Khalid, and Noorfathehah Binti Abdullah Sani. "Enhancing Undergraduate Student’s Understanding of Cultural Heritage Studies Through Digital Storytelling Software." Malaysian Journal of Social Sciences and Humanities (MJSSH) 7, no. 3 (March 10, 2022): e001362. http://dx.doi.org/10.47405/mjssh.v7i3.1362.
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The young generation that grew up after the 21st century is under the influence of digital data, smart gadgets, as well as tools that allow them to process information differently. To date, digital storytelling has been studied as a platform for communicating with students in developing information literacy and cultural understanding. Therefore, this study investigated whether DST can help students increase their knowledge of arts and cultural heritage and improve their engagement in developing technological and scientific skills. A purposive sample of 60 (Group 1 and Group 2) first-year students enrolled in an arts and heritage course at UMT were interviewed using qualitative research with seven (8) open-ended interview questions and the questionnaire was distributed via a Google form. Upon completion of the digital storytelling project, the data was collected and analysed. The results are organised as follows: i) Knowledge and improvement of the subject of arts and cultural heritage management ii) Building technical research skills iii) Affective responses to digital storytelling iv) Working in a group. Digital storytelling enhanced students' experiences, perceptions of cultural competence, and development of research and technical skills. Benefits included the use of creative thinking and ultimately producing a short video on a diversity topic of their choosing without identifying themselves as artists or filmmakers. able to create or enhance meaning through the use of additional tools.
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Mukherjee, Madhuja. "Little cinema culture: Networks of digital files and festival on the fringes." Studies in South Asian Film & Media 10, no. 1 (October 1, 2019): 23–40. http://dx.doi.org/10.1386/safm_00003_1.
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Abstract This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circumstances, the article focuses on marginal film festivals, especially the TENT 'Little Cinema International Festival' for experimental films and new media-art, held in Kolkata, India, since 2014. 'Little Cinema International Festival', on one hand, showcases international packages such as those from Berlinale; on the other hand, it presents curated programmes comprising videos made by first-time filmmakers from India. The article deliberates on the broad and long drawn contexts of 'festivals' and artistic endeavours, as well as the formal contours of the videos, which generate spaces for dialogues, both within the filmic text, and in the milieus in which these are shown. The emphasis on the thriving 'amateur' practice also draws attention to 'Little Magazine', 'Little Theatre' and 'Little Film' practices in West Bengal, as well as contemporary new-media transactions, which has transmediated into newer modes of articulations.
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Mbura, Issa. "Effects of Digitalization on the Three-tier Structure of Tanzania’s Film Industry." Umma: The Journal of Contemporary Literature and Creative Art 9, no. 1 (2022): 140–63. http://dx.doi.org/10.56279/ummaj.v9i1.7.
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This paper examines the effects of digitalization on the three-tier structure of Tanzania film industry. Explicitly, the paper focuses on the period between 1990 and 2020. It follows on the presumptions that omnipresent and pervasive digital video and Internet-based technologies promoted under the theme of digitalization and underpinned by the digital revolution theory are impacting on film industries across nations. The specific drivers of the digitalization that the paper advances are digital video cameras and computer-based nonlinear editing systems applied in the production of films, Digital Versatile Discs (DVD), Online movie streaming and Video on Demand (VOD) platforms as used in distributing films and digital cinema formats and projectors in exhibition of films. Key informant interview method was used to collect qualitative data from twenty six (26) respondents. The respondents included media experts, filmmakers, camera operators, video editors and various film industry stakeholders. Other data collection methods employed included direct observation and online ethnography. The paper reveals that digitalization elicits and enhances specific changes on the three-tier structure of the Tanzania film industry. Due to the effects of digitalization the Tanzania film industry has morphed into a functional film industry. The paper concludes that in spite of the differences in its effectiveness and purposes that are grounded on issues of contexts, digitalization is more important than other determining factors such as capital formation in impacting on the transformation of the three-tier structure of the country’s film industry.
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Moura, Hudson. "Editorial." Interactive Film and Media Journal 1, no. 2 (November 22, 2021): 2–4. http://dx.doi.org/10.32920/ifmj.v1i2.1517.
Full textAbstract:
Film and media practitioners and educators have been expanding the use of digital through new experiences with unusual and innovative technical and artistic “approaches.” Likewise, researchers and academics are questioning and analyzing these new practices that increasingly dominate global society, as seen in the past months with the advent of the worldwide pandemic. In 2013, we created the IFM-Interactive Film and Media Conference to provide an inclusive educational space within the digital theory and interactive studies where researchers and practitioners could discuss and present their research and work in film and media. With this purpose, the IFM has partnered with universities worldwide and established a space for a global integration between academia and the audiovisual production community that aims to forge a valuable exchange between researchers, faculty, students, practitioners, and the community. The goal is to generate a broad debate, emphasizing the need to evaluate the increasing use of digital screens in contemporary society and how people respond artistically, socially, and politically to the challenges of the digital cultural space. The work of professors, researchers, and practitioners (artists, filmmakers, and videomakers) from various areas and several countries, including Italy, Brazil, England, Spain, Canada, New Zealand, Portugal, Scotland, Germany, and the United States, constitutes this special issue with selected articles and audiovisuals from the #IFM2014. The aim is to launch IFM Journal first issues while archiving our preliminary works.