Audiovisual Narratives Research Articles

Legal glossary in Libras

Este trabalho apresenta uma pesquisa, realizada no âmbito da Educação de Surdos, sobre a elaboração de um glossário de termos jurídicos em Língua brasileira de sinais (Libras), com apoio de narrativas audiovisuais. Tem como foco discutir a importância de contextualizar sinais-termo jurídicos por meio de episódios cinematográficos. O processo teórico-metodológico fundamentou-se na perspectiva discursiva bakhtiniana e no uso de dados visuais. Ao final, foram produzidos um glossário com setenta e quatro sinais-termo, vídeos explicativos de três sinais e dois episódios cinematográficos. A participação dos professores surdos na seleção de sinais e na elaboração e avaliação dos episódios insere o grupo em uma nova forma de enunciado que inclui a linguagem audiovisual.

Imagining Cinema: ‘Cinempathy’ and the Embodied Imagination

Imagination has been the focus of much philosophical inquiry in recent decades. Although it plays an essential role in linking emotional engagement with ethical experience, imagination has received comparatively little attention in film-philosophy. In this article, I argue that imagination plays an essential role in linking emotional engagement with moral-ethical experience. Drawing on phenomenological, cognitive and aesthetic perspectives, I focus on perceptual imagining and suggest that an account of embodied cinematic imagination — encompassing both perceptual/sensory and propositional/cognitive imagining — is especially relevant to theorizing cinematic experience. The interplay of first-person empathic and third-person sympathetic perspectives (‘cinempathy’) is another essential feature of our emotional and ethical engagement with cinema. By synthesizing ‘bottom-up’ sensory, affective responses to audiovisual images, with ‘top-down’ cognitive processes associated with mental simulation, an account of embodied cinematic imagination can explain how emotional engagement and ethical responsiveness work together in our experience of audiovisual narratives.

Relatos de uma pesquisa com jovens estudantes de Juiz de Fora: audiovisual e gênero

O presente artigo trata das relações entre jovens estudantes do segundo ciclo do ensino fundamental, da cidade de Juiz de Fora/MG, com filmes que têm jovens como protagonistas. O foco da discussão são as percepções desses jovens quanto às representações de gênero nos filmes. Para abordar essas percepções, recorremos a resultados de um estudo desenvolvido com jovens de uma escola da rede pública municipal de ensino. A pesquisa-intervenção teve como principal procedimento a realização de oficinas de visualização e discussão de filmes, cujo objetivo era entender a relação daqueles jovens com o audiovisual. Uma das questões que emergiram no desenrolar das atividades tratou das representações de gênero construídas no contato com narrativas audiovisuais. Os resultados foram discutidos à luz dos estudos de comunicação latino-americanos, tendo como principais referências Jésus Martín-Barbero e Néstor García-Canclini, e dos estudos de gênero e de suas relações com as mídias, desenvolvidos por Guacira Louro.

The Impact of Health Narratives on Persuasion in African American Women: A Systematic Review and Meta-Analysis

ABSTRACT African American women (AAW) experience higher burdens of disease and have the highest rate of heart disease, cancer, stroke, and diabetes when compared to females of other ethnic groups. Health narratives are a communication strategy that has been used to improve population health outcomes. Narrative storytelling is considered to be effective for improving health outcomes in African Americans because of the strong cultural storytelling background. The purpose of this study was to determine if health narratives have a significant effect on persuasion among AAW, as measured by changes in attitudes, beliefs, intentions, and behaviors. Meta-analysis of health narrative experiments (k = 13) for AAW (N = 2,746) revealed that health narratives have a significant overall effect on persuasion (d = .243; p < .01). Sub-group analyses revealed no significant difference between audio-visual and written-based narratives, and no significant difference between general health topics and cancer topics. Narrative communication was effective for promoting health in AAW. These findings imply that narratives can effectively be used as an audio-visual or written-based communication for AAW, and that health topic may not impact outcomes of narrative communication.

Narrativas audiovisuales colectivas como vehículo de resignificación identitaria: implementando el vídeo participativo con jóvenes guatemaltecos/as

ResumenLlevado a cabo en el marco de las Prácticas Externas del Máster en Cooperación al Desarrollo de la Universitat Jaume I de Castellón, este trabajo de investigación propone probar como cierta la premisa de que el propio acto de autorrepresentación por parte de un grupo de jóvenes guatemaltecos (a través de dispositivos audiovisuales) supone un medio exitoso de creación/re-negociación de significados e identidades (tanto personales como socioculturales) el cual, mediante la narración de sus propias realidades, conduce a un fortalecimiento tanto de su autopercepción como del sentido de pertenencia a su comunidad. Para alcanzar los objetivos marcados, se realizó una revisión teórica que ha permitido presentar el estado de la cuestión en las áreas de conocimiento de Psicología Social y la Antropología Visual, prioritariamente. Enmarcado en el seno de la Investigación–Acción Participativa (IAP), se utilizó la Técnica del Análisis Discursivo aplicándose a dos de los vídeos recogidos mediante la técnica del Vídeo Participativo (enmarcada en el seno de la metodología de la Investigación-Acción Participativa).

'Karícies' a l’aula.

The Karícies blog is a teaching project that aims to reverse a sex education that perpetuates a sexist hegemonic model that is heterosexist, ageist, and ableist, etc. The main objectives are to provide tools for affective and sexual relations that are equal, to expose the costs of traditional masculinity and to celebrate diversity. The language work in the blog is inserted in a scenario of real and public interaction that facilitates the combination of different languages, permits reflection on digital reputation and privacy, and allows a critical approach to audiovisual narratives. In this scenario, other professionals can hear the views of young people and also use the materials presented.

Human Reality: Action and Perception in Italian Audiovisual Narratives between Serial Drama and Realist Film

Human Reality: Action and Perception in Italian Audiovisual Narratives between Serial Drama and Realist Film

Bandersnatch: o mundo virtual e a realidade na interatividade do cinema.

The transformations that technology propitiates take the audiovisual narratives to seek new resources in the way of telling a story, such elements appear in the composition of this new audiovisual grammar. Bandersnatch by Charlie Brooker is an interactive film screened on Netflix, coming from the Black Mirror series known for breaking the classic rules of format in their stories. The plot brings the concept of interactivity, offering the viewer to change the course of history. Is this a market trend? From the writer’s point of view, how to put together a story with these features? These are some of the questions the article will answer. The process of creating a script is done based on the construction of the characters and the universe inhabited by them.

Zeitraum und Raumzeit: Dimensionen zeitlicher und räumlicher Narration im Theater

Zeitraum und Raumzeit: Dimensionen zeitlicher und räumlicher Narration im Theater

Creating algorithmic audio-visual narratives through the use of augmented reality prints

Abstract This article investigates the hypothesis of creating non-linear audio-visual narratives, through an unanticipated use of traditional print-based games, enriched with videos, via augmented reality (AR) possibilities. A ludic system has been created and presented. Based on a traditional card game, a non-linear cinematic narrative occurs. We attempt to examine the following questions: in which way can we bring together different forms of visual communication, such as graphic design and video? Can the above forms create a complex narrative whole and what kind of rules will be needed for this? How can we enrich traditional forms of gaming with the potentials of AR? Gaming itself demands a set of rules. Can these rules play the role of algorithms in the combined universe that we have designed and created? In which way can the designer on the one hand and the user on the other influence the overall output of the system? What will the user experience be like? The printed card system chosen for this is Tarot and more precisely the Great Arcana, which makes use of the 22 fundamental Tarot figures.

Los subterfugios digitales de Jafar Panahi

espanolDos temas se encuentran en la aplaudida cinematografia de Jafar Panahi (1960): la exposicion de las contradicciones de la sociedad irani y el cuestionamiento del dispositivo cinematografico. El abordaje de ambas problematicas ha continuado en la ultima decada, a pesar de la prohibicion de dirigir impuesta por los ayatolas. Esto ha sido posible, en gran medida, por las oportunidades que supone la digitalizacion de las formas de registro y distribucion del material audiovisual. En largometrajes como Este no es un filme (2011) y Taxi (2015), Panahi continua con el examen de las convenciones cinematograficas que comenzo en El espejo (1997), e invita a ver un filme que “se hace solo”, es decir un dispositivo que funciona sin la participacion de un director o narrador consciente, sino por la simple actividad de un camarografo (que no acepta instrucciones) o la operacion de un artefacto (la camara en la cabina del taxi o en el telefono celular de uno de los pasajeros). De esta manera, Panahi elude la censura gubernamental, al mismo tiempo que hace evidentes ciertos rasgos de la narracion audiovisual en el contexto de la digitalizacion y las nuevas tecnologias. EnglishTwo themes can be found in Jafar Panahi’s acclaimed cinematography (1960): the exposition of contradictions within Iranian society and the questioning of the cinematographic device. Both issues have been continuously addressed in the last decade, despite the prohibition over film directing imposed by the ayatollahs. This has been possible, to a large extent, thanks to the opportunities offered by the digitalization of the recording and the distribution methods of audiovisual material. In films such as This is not a film (2011) and Taxi (2015), Panahi continues with the examination of cinematographic conventions that he began in The Mirror (1997), and invites to see a film that “is made by itself”, that is, a device that works without the involvement of a conscious director or narrator, but by the actions of a cameraman (who does not accept instructions) or the operation of an artifact (the camera in the cab of the taxi or in the cell phone of one of the passengers). In this way, Panahi avoids government censorship, while making evident certain features of audiovisual narration in the context of digitalization and new technologies.

La narración audiovisual como documento social e histórico: enfoques teóricos y métodos analíticos

Hace largo tiempo que las narraciones audiovisuales se han tornado un objeto legítimo de las ciencias sociales y humanas. Se las estudia como instituciones, agentes modeladores de la conciencia colectiva, práctica social o industria. En este artículo nos centraremos en su aptitud para radiografiar ciertas regiones de la experiencia socio-cultural.La función documental de filmes y programas televisivos ha inspirado una vasta literatura más o menos sociológica, siendo mucho menor la relativa a los aspectos metodológicos de su análisis. La disparidad refleja la brecha existente entre el creciente interés por desentrañar su significado social y la escasa conciencia de las dificultades que entraña ligar los contenidos y aspectos formales de tales narraciones al contexto social, cultural e histórico. Generalizaciones abusivas, inferencias sin base y reduccionismos derivados de premisas erróneas y herramientas inadecuadas han llevado a Westwell (2007) a calificar este área de “sub-campo en busca de una metodología”.Con la intención de clarificar las carencias metodológicas referidas, en este trabajo se examinan las principales teorizaciones sobre las relaciones entre la imagen en movimiento y la realidad, seguida de una propuesta interpretativa integral de las narrativas audiovisuales, plasmada en un catálogo de las técnicas analíticas más habituales, con un repaso de sus pros y contras. Con fines demostrativos, dedicaremos la última parte a articular esos procedimientos en el diseño de abordaje de un documental televisivo de tema histórico: La Transición, de Elías de Andrés y Victoria Prego.Film and audiovisual narratives has long been recognized as a legitimate subject of the social and human sciences. They are studied as institutions, as shapers of collective conscience, as social practice, as an industrial goods. In this paper we focus upon their documentary value and capacity for mapping different areas of socio-cultural experience.There is a vast body of bibliography about the social content of films and television programs, although the academic literature concerning the methodological issues related to their analysis is significantly smaller. This disparity underlines the gap between the growing interest for unraveling their social meanings and the lack of awareness of the difficulties involved in linking their contents and formal features to the social, cultural and historical context. Unwarranted generalizations, flawed inferences and reductionisms resulting from mistaken assumptions and unsuitable tools have lead Westwell (2007) to describe this field as a “sub-area in search of a methology”.In order to tackle that issue, the main theories about the relationships between the moving image and reality are discussed in the first part of this article. Next, a catalogue of the methodologies most frequently applied to audiovisual narrative is presented, accompanied by an assessment of their pros and cons. For demostration purposes, the last part is dedicated to articulate those methods in a proposal for interpreting a well-known Spanish television documentary about a highly sensitive period in Spain’s history: La Transición, by Elias de Andres and Victoria Prego.

Diegetic and non-diegetic surprises, and their effect on liking, long-term recall and comprehension in narrative television commercials

The aim of this experiment is to classify surprises in audiovisual narratives, and to measure the efficacy of surprise in audiovisual stories in terms of liking, long-term recall and comprehension in television commercials. The theoretical analysis leads to distinguish 3 types of audiovisual narrative surprises: non-diegetic, diegetic implausible and diegetic plausible. In order to test these types of surprises with complete and homogeneous stories in terms of duration, and to show many of these types of surprises to each participant, 16 narrative television commercials (M=40,68 seconds) were used as stimuli in this study. The experimental design was a 4 groups (3 groups of surprise, and 1 non-surprise group, 4 stories each) fully randomised experiment (N=120, Age: 18-24). The results showed that surprise had a significant enhancing effect on liking, on the day of the viewing (c² (3,N=480)=5.83, p=0.12), and one month after (c² (3,N=480)=10.38, p=.016); an ANOVA test showed a significant relation between surprise and the degree of comprehension (F(1,480)=12.14), p

Usuários de crack: histórias de vida e subjetividade em narrativas audiovisuais

Usuários de crack: histórias de vida e subjetividade em narrativas audiovisuais

Crack users: life stories and subjectivity in audiovisual narratives

espanolConstituyendose el abuso de crack como grave problema de salud publica, este articulo es parte de disertacion que tuvo como objetivo comprender la relacion entre las historias de vida y proyectos de ser de los consumidores de crack con el consumo de la sustancia y problemas relacionados. Se pidio a 5 participantes que hiciesen videos sobre sus historias de vida y hablasen sobre el proceso de reflexion sobre sus trayectorias y los aspectos de su vida presentes o no en los videos. Los datos obtenidos fueron analizados de acuerdo al analisis de contenido de Ruiz-Olabuenaga. Se observo que consumir crack es como los otros actos humanos que constituyen el sujeto, aunque se vuelve problematico cuando promueve una suspension de otras posibilidades de vida. Se verifico que tienden a adoptar el discurso normalizado sobre drogas y usuarios, incluso en contradiccion con sus historias de vida, aunque que reconocian que hay algo singular en el uso y en sus procesos de tratamiento/recuperacion. Esta investigacion indica la necesidad de estrategias que promuevan la reflexion de los usuarios sobre el tipo detras de la destacando los aspectos universales y singulares de sus biografias, con la construccion de narrativas autobiograficas audiovisuales como herramienta clinicamente poderosa. portuguesConstituindo-se o uso problematico de crack como grave questao de Saude Publica, este artigo e parte de dissertacao que teve como objetivo compreender a relacao entre historias de vida e projetos de ser dos sujeitos usuarios de crack com o consumo da substância e problemas a ele relacionados. Solicitou-se a cinco participantes que fizessem videos sobre suas historias de vida, e que falassem sobre o processo de reflexao sobre suas trajetorias e aspectos de suas vidas presentes ou nao nos videos. Os dados produzidos foram analisados conforme a Analise de Conteudo proposta por Ruiz-Olabuenaga. Percebeu-se o ato de consumir crack como mais um dos atos humanos a constituir o sujeito e sua biografia, embora se torne problematico quando promove suspensao das outras possibilidades de vida. Verificou-se que eles tenderam a adotar discursos padronizados sobre drogas e usuarios, ainda que contradigam suas proprias historias de vida, embora reconhecam que ha algo de particular na sua trajetoria de uso e nos processos de tratamento/ recuperacao. Esta pesquisa indica a necessidade de estrategias que fomentem a reflexao dos usuarios sobre o sujeito por tras da droga, destacando aspectos universais e singulares de suas biografias, tendo na construcao de narrativas autobiograficas audiovisuais um instrumento clinicamente potente. EnglishConsidering crack abuse as a problem of Public Health, this research aimed to understand the relationship between the life stories and the being projects of crack users with the consumption of the substance and related problems. 5 participants were asked to do videos about their life stories and to talk about the process of reflection on their trajectories, thinking about aspects addressed or not of their lives in the films produced by them. The data produced were analyzed according to the Content Analysis proposed by Ruiz-Olabuenaga. It was noticed the act of consuming crack as another human act who creates the subject and his biography, though it is problematic when promotes a suspension of the other possibilities of life. It was found that the users themselves tend to adopt standardized discourses on drugs and users, even when they contradict his own life experience, while recognizing that there is something particular in his phenomenon of the use and recovery and treatment’s processes. This research indicates that it is necessary to promote users' reflection about the person behind the drug, highlighting the universal and individual aspects of their biographies, with the construction of autobiographical audiovisual narratives as a clinically powerful tool.

Cultura da mídia e valores morais nas telas do cinema

O artigo relata a experiência pedagógica do CinÉtica, atividade de cineclubismo e debate de filmes da disciplina Fundamentos da Ética, do curso de Jornalismo do ICSEZ/UFAM. A experiência foi viabilizada em três anos consecutivos, e na avaliação dos próprios alunos, mas também dos monitores e do coordenador, serviu como um apoio expressivo dos conteúdos e aguçou a gana dos acadêmicos por mais leituras. Buscamos perceber nas obras cinematográficas seus posicionamentos em torno de dilemas éticos e morais, ou seja, nossa atividade se norteava pela investigação de como as narrativas audiovisuais podem ora alimentar a direção moral e intelectual predominante, ou, na perspectiva contra-hegemônica, apresentar material capaz de fazer os espectadores refletirem e questionarem os códigos de conduta hegemônicos.

“When you see me again, it won't be me”. Twin Peaks from the Multichannel Era to the Digital Era

On its debut in 1990, David Lynch and Mark Frost's TV series Twin Peaks aired during the “multichannel era” on the broadcasting channel ABC, one of the three free-to-air US TV networks at the time. ABC imposed major plot developments, e.g. the revelation of Laura Palmer's murderer early in season two, which the two creators intended to keep the mystery unsolved for a much longer time. For the revival of Twin Peaks (2017, during the digital era), distributed by Showtime, Lynch and Frost created a more complex audiovisual product. The Twin Peaks revival was realized with far more authorial liberty, due to the indisputable celebrity of Lynch and the possibility—fostered by the subscription-based premium cable platform Showtime—of aiming at a niche audience, a possibility that George Gilder foresaw in 1990. As a result, not only Twin Peaks – The Return's plot is much more complex than in the first two seasons, but it also proves how television in the digital era can lead to the creation of audiovisual narratives that fully exploit every audiovisual semiotic level.

Contextualising screen violence: An integrative approach toward explaining of the functions of violent narrative events in audiovisual media

Abstract This article aims to examine the narrative impacts and social influences of screen violence in audiovisual media. It suggests an integrative approach to synthesising the recent research findings in different disciplines such as cognitive science, media studies, neuroscience, and social semiotic theories. Based on the theoretical synthesis of narrative effects and persuasive functions, this paper establishes a method for analysing the contextualisation of violent events. In particular, the analytical method focuses on the two main narrative mechanisms for contextualising violent events, justifications of characters’ motivations for using violence and depictions of consequences. This article will apply the method to elucidate how different kinds of contextualisation yield different types of narrative impacts, persuasive potentials, and the ways in which social, political, and ideological issues can be learnt. Furthermore, a typology of characters’ motivations is also provided, which are often used for justifying the characters’ violent actions in audiovisual narratives. This paper also unravels how genre expectations are closely related to narrative functions of screen violence, particularly how genre shapes the viewers’ prediction and interpretation of violent events. Finally, the methods for motivation analysis of violent narrative events are extended to examine a particular genre of interactive audiovisual texts — empathy games.

Postgrowth Imaginaries: New Ecologies and Counterhegemonic Culture in Post-2008 Spain - Part 3, Chapter 4

This chapter focuses on catastrophe fiction that explores the disturbing ecological consequences of sudden disruptions caused by extreme environmental events set in motion or exacerbated by growth-oriented activity. In this scenario, rapid anthropogenic changes in the earth’s ecological systems unleash a massive catastrophe at a regional or global level. This kind of fiction has commonly been assumed to have pedagogical implications because it highlights the destructive practices that humanity should abandon and promotes an activist lifestyle. By studying some of the most popular contemporary catastrophe audiovisual narratives in Spain (TV show El Barco and the movie The Impossible), I demonstrate that the pedagogical interpretation of catastrophe should be revisited for several reasons. Catastrophe-oriented fiction tends to ignore or, in the worse cases, conceal the pervasive structural violence against humans and nonhumans resulting from global neoliberal policies and growth economic dynamics. In order to encourage an effective political ecology, I argue that other kinds of narratives are much more effective and resistant to co-optation by the dominant imaginary: stories and projects that envision and perform desirable postgrowth imaginaries

Las audiencias de las producciones audiovisuales informales en Santo Domingo de los Colorados (Ecuador).

El término productores informales, utilizado en esta investigación, denomina a personas sin estudios formales en cinematografía ni artes escénicas, de oficio informal o mano de obra no cualificada, que comercializan sus narrativas audiovisuales en formato DVD en los circuitos del comercio informal. Este trabajo estudia cómo los ciudadanos de Santo Domingo de los Colorados (Ecuador), perciben las representaciones audiovisuales de estos productores. Mediante grupos de discusión, se analizaron los contenidos de las narrativas de dos productoras informales de la ciudad. El resultado de la investigación muestra que la clase social media baja es la mayor audiencia de estas producciones ya que se identifican con la historia y los espacios representados en estas narrativas. Mientras que, para las audiencias de las clases con mayor adquisición económica, muchas veces, perciben a estas producciones como representaciones negativas, considerando que las historias exaltan los actos delictivos ocurridos en la ciudad. &#x0D; Abstract:&#x0D; In this investigation, the terminology informal filmmaker is used to refer to people without formal studies on cinematography or the arts, with informal job or unskilled labor, who sells their audiovisual narratives in DVD format using the informal commercial circuit. This article studied how the citizens of Santo Domingo de los Colorados (Ecuador), perceive the audio visual representations of this kind of filmmakers. Using the focus groups, the argument of the narrations of two informal filmmakers from this city was analyzed. The result of this research shows that the lower social class is the largest audience of these productions due to they identify with the argument and the spaces represented in these narratives.&#x0D; Keywords:&#x0D; anthropology; representation methodology; production; audiovisual;