Audiovisual Creation Research Articles

Methodologies and Procedures for the Audiovisual Creation and Direction of Virtual Reality Short Films with Volumetric Capture. An Innovation Project for Higher Education

Virtual reality (VR) has become a cutting-edge medium for interactive experiences and immersive storytelling. In this setting, virtual reality short films have become more popular. They provide audiences with the chance to fully submerge themselves in three-dimensional environments and experience the staging of fictional events firsthand. This article presents a method for producing virtual reality short films using volumetric capture, which enables the implementation of real-time acting captured in three-dimensional video in virtual space-time.The production process is explained, starting with the idea of creating hybrid virtual reality cinematic experiences that blend various methods and assets, such as volumetric capture, computer graphics, and 360-degree film. For this experience, the production of the second episode of the virtual reality series The Stigma Machine (Martínez-Cano, 2022-currently) was carried out within the framework of the educational innovation project PIEU_B/2023_69: Production of prosocial-immersive audiovisual narratives in virtual reality, which involves 20 students from Miguel Hernández University’s Degree in Audiovisual Communication and the Double Degree in Audiovisual Communication and Journalism.In order to experiment with the students on the various processes and techniques for the audiovisual creation of VR, a review of exceptional examples of VR short films with volumetric capture was conducted during the development of this project. Case studies were analyzed to illustrate the various solutions implemented to create immersive experiences from an emotional approach.The findings highlight future directions for the creation of VR short films with volumetric capture and stress the value of multidisciplinary cooperation between filmmakers, visual artists, and VR specialists in advancing the development of this type of immersive storytelling.

Fenomenología de la narración audiovisual para la formación ética empleando el “anime”

Ethic formation faces the challenge of being understandable for students, but, aboveall, of being expressed in their own ways of understanding and discussing their lives, in orderto be relevant. One especially attractive form among children and young people is audiovisualcommunication, whose formative potential has been usually understood in instrumental terms,when not absolutely denied. This article presents a phenomenological proposal to dialogicallyelaborate in the classroom the problematization of duty centered ethics, as it is dramatized in twoJapanese animation productions (“anime”). In first place, it discusses phenomenologically howto understand the formative potential of the experience of watching an animated narrative. Insecond place, it claims that the phenomenological reinterpretation of the categorical imperativecan overcome its disconnection from the affective dimension of the ethical subject and his factualcontexts of action to focus on the caring of the human condition of vulnerability. In third place,it shows how the previous discussions are elaborated in two “anime”, which allow students toexperientially involve themselves in these ethical interpellations and offer teachers the opportunityto embrace their student’s insights in a dialogical learning experience understood narratively.It concludes summarizing the opportunities and challenges presented to teachers from thisperspective of the meaning of audiovisual creations in the education activity.

The representation of African American identity on screen for a Spanish audience

Existing studies of translations of audio-visual productions that explore African American issues focus exclusively on African American Vernacular English and culturally specific references, the standardisation or omission of which are seen to compromise the originals’ critique of race and their value for in-group identity. This article takes a multimodal approach to three such productions dubbed for a Spanish audience. Firstly, it examines how characters’ African American identity is rendered not only by language but also visually and aurally. Comprehension in dubbed versions is more likely to be affected by non-linguistic matters, such as casting of voice talent. Secondly, it is shown how translations shape the audio-visual creation of a fictional world and extra-diegetic elements that address a particular audience and thus enable in-group identification along ethnic lines. Lastly, an alternative translation strategy is outlined that targets audiences from the international Black diaspora to whom such productions might appeal.

Discourse of Expression of Image Representations in Contemporary Audiovisual Culture

The presented study deals with the issue of the discourse of pictorial portrayals in present-day audiovisual culture. The authors aim to find the basic parameters of the current discourse and discursive practices within audiovisual creation, especially film and television. They define basic concepts and categories and submit them to analysis. From this aspect, they examine aesthetic categories, especially aesthetic values ​​and functions in relation to the interpretation of image representations. They formulate the premise that the expressions of visual presentations are reflections of the digital technical-technological platform of audiovisual making, the ethos of postmodernity and postmodernism, and the ideal of consumption of experiences as one of the most important values ​​of present-day Western civilization. In a logical sequence, they deal with the matter of the ethos and value-related frameworks of postmodernism as relevant factors that condition the discursive practices of audiovisual creators. On the other hand, they name the mindsets of individuals, recipients of audiovisual statements, testifying to their specific desires for emotional encounters. They reach the conclusion that the discourse of the expression of visual representations in contemporary audiovisual culture has clearly defined parameters of creative approaches and reception expectations.

Collaborative modes of audiovisual media: literature review and conceptual proposal

ABSTRACT There is no consensus on the definition of participatory or collaborative practices in relation to audiovisual media. The same term has been used to name a range of similar practices although they have important differences that should be described. Moreover, different terms have been used to refer to the same practice. The present article provides a conceptual proposal for this mode of creation, which originated and has been essentially developed in the field of non-fiction. We first conducted a systematic review of the literature, which corroborated the starting premise and allowed us to propose the concept ‘collaborative modes of audiovisual media’ compared with other terms that are currently employed. We then explored the characterisation of the object of study and the historical uses of the different concepts that are applied to this type of audiovisual creation. The definition obtained recognises the plurality of the concept and reveals its basic characteristics. Then, we have compared this notion with recent contributions on collaborative creation in the context of digital communication. In conclusion, this article offers a theoretical model to further research this object of study, acknowledging the differences among practices and facilitating a deeper insight into the productive connections that they share.

The importance of identity in today's chefs: Mugaritz and popular culture

This article explores the relationship between local traditions and avant-garde cuisine through Mugaritz restaurant and chef Andoni L. Aduriz. The methods used for its study are both descriptive (especially in the first stage of the research) and qualitative and surveys through three personal interviews with Andoni L. Aduriz to analyse how popular culture has influenced avant-garde cuisine. It highlights the importance of Nouvelle Cuisine in the 1970s as a milestone in the democratizsation of cuisine and the entry of popular culture into the kitchen. The New Basque and Catalan Cuisines also played an important role in the defence of the autochthonous and local products, and two of their leading representatives, Ferrán Adrià and Andoni L. Aduriz, brought this search for the popular to avant-garde cuisine. The article explores how Aduriz incorporates popular elements into his cuisine, such as local ingredients, trompe l'oeil, puns, irony, children's games and eating with the hands. It also focus on how his reflections on gastronomy, his audiovisual creations and his use of science have expanded his cooking techniques. By analysing Mugaritz's creative work, the article seeks to contribute to eliminating the artificial barrier that has arisen in recent times between two essential lines of avant-garde gastronomy: the consideration of cuisine as an art and its apparent distancing from popular traditions. Such a separation is illusory, more the product of a theoretical construct than of empirical observation of reality, as the following pages will attempt to demonstrate.

Мобилография – медиадағы жаңа құбылыс

Today's media not only spread information, but also create interesting news that we can watch, listen to and read by viewing our audiovisual creations using our small mobile devices. This trend usually coincides with modern searches in the media sphere. Therefore, mobile journalism is gaining momentum not only abroad, but also in Kazakhstan. Young journalists who are passionate about the possibilities of new media, and those who want to work in the field of media in the future, react especially to this. They prove that, as before, there is no need to sit in front of large portable computers, monitors. Through their small mobile devices in their hands, they can shoot, edit and create high-quality media products. Our article says that mobilography is one of such modern phenomena. We can say that this is a new direction in electronic journalism. At first it appeared as a genre of photography and in a short time gained popularity among millions of amateur photographers. And this was followed by skeptical interest, creating an image among photography professionals. Now, in this process, television filming has also begun to be done.

Research on the Conception of Auditory Creation of Film and Television Directors

In the process of film and television director's creation, a very important work is audio-visual conversion, but there are few relevant materials about the director's auditory creation idea. For novice film and television directors, auditory design is abstract at the beginning, and they cannot grasp what is the key point. Film and television director is the core character in film and television creation,who is also the responsible person in film and television work quality control. The quality of a work of art is closely related to the script. From the aspect of film and television creation, the level of audio-visual creation, the skill of visual creation and the ability of director artistic creation are closely and directly related. Under normal circumstances, the director will do two things strictly during the creation of film and television works. First, the film and television structure should be reasonably planned. Second, the hierarchical composition of film and television creation elements should be strictly controlled. The process of film and television creation means to choose the structure of film and television works, and strive to be real in the process of selection, from a small shot to the whole film, so as to form an organic whole. When selecting materials, film and television directors also need to make special treatment on the basis of film and television creation effects, and make use of different elements to form different film and television levels and film and television structures, so as to provide conditions for achieving the expected artistic effects.

Cineastas expatriados, filmes (trans)nacionais? : o caso de dois cineastas latino-américanos na Europa

This communication seeks to address the complex issue of audiovisual creation in the context of transnational mobility. If the transnational dynamics of international contemporaneous cinema have been gaining more and more space in the social sciences, here we intend to articulate the migratory paths of two well-known Latin American filmmakers living in European countries - Brazilian Karim Aïnouz in Germany and Argentinean Pablo Agüero in France- with their films. Indeed, the most recent films of the two directors seems to have taken a “transnational turn”, not only from an economic perspective (being international co-productions) but also in a formal and narrative point of view, mainly picturing stories from outside their homeland. Moreover the entire filmography of these two filmmakers will allow us to interrogate the rapports between cinema and (trans)national cultures in the contemporary world.

Appropriation and recycling for audiovisual creation as a critical resource. Case study: The trilling hand. María Cañas

La presente investigación muestra el desarrollo de la apropiación y el reciclaje como técnica de creación audiovisual contemporánea, en formato de vídeo y como herramienta crítica, mostrando su evolución y cómo la técnica se enriquece como recurso creativo destacando la evolución de las tecnologías de la información tanto en la creación como en el visionado de las piezas a través de las plataformas digitales actuales. Desde los reproductores VHS, el software de postproducción audiovisual y su implementación, Internet o incluso la manipulación de videojuegos para generar nuevos contenidos. La investigación incluye el análisis de la pieza La mano que trina, de María Cañas, que recoge el espíritu de la técnica apropiacionista y que permite observar cómo la artista documenta y critica, desde el humor, la sociedad de la información contemporánea y su relación con la sociedad de consumo.

The Audiovisual Creation in Educational Proposals on Organ Donation: Attitude Towards Organ Donation and Transplantation of Secondary School Teachers

Audiovisual creation allows teachers and students to become consumers and producers of information, creating collaborative environments. In the field of organ donation and transplantation (ODT), most of the educational proposals analyzed to date consist of presentations. The teacher does not usually have a decisive role in this type of methodologies, in addition to not having the appropriate training to be able to participate actively. To analyze the change in teachers' attitudes towards ODT after participating in an educational proposal based on the creation of short films. Teachers of secondary education in ten schools in southeastern Spain. The proposal consisted in the creation of short films based on topics related to ODT by the students. A validated ODT attitude form was administered to teachers at the beginning of the proposal and at the end of the proposal. A descriptive analysis was carried out together with McNemar test was used to compare the pre and post test results of the teacher. P < .05 was considered statiscally significant. The favorable attitude towards organ donation at death increased after the proposal (64% vs 88%; P = .008). Favorable attitude towards organ donation from a relative also improved (52% vs 76%; P = .008), as did favorable attitude towards living kidney donation (52% vs 88%; P < .001), living liver donation (36% vs 85%; P = .008) and xenotransplantation (45% vs 82%; P < .001). The teachers improves after an educational proposal based on the creation of short films related to ODT.

From the tool to the spatial metaphor: Graphical user interface and audiovisual creation in new media

This article is set within a technological paradigm shift that denotes a transition from hardware to software and that, by means of applications and operating systems, plays a central role in the sociocultural sphere, intervening in the creation, classification and distribution of cultural objects. The aim of this research is to delve into how the graphical user interface (GUI) integrates into contemporary audiovisual discourse, focusing on its potential as a spatial metaphor. To that end, a theoretical framework is built on the concept of space as a tool and its instrumentalization in the GUI throughout the years, with a view to design a taxonomy in relation to the different ways in which the GUI integrates into digital image composition. The article concludes that the ability to operate in the virtual and physical space, moving between the logic of the tool and its potential as spatial metaphor, provides the GUI with the necessary specificity to be considered a key cultural element for analysing new media’s visual identity.

(Sub)titles in cinematic virtual reality: a descriptive study

Virtual reality has attracted the attention of industry and researchers. Its applications for entertainment and audiovisual content creation are endless. Filmmakers are experimenting with different techniques to create immersive stories. Also, subtitle creators and researchers are finding new ways to implement (sub)titles in this new medium. In this article, the state-of-the-art of cinematic virtual reality content is presented and the current challenges faced by filmmakers when dealing with this medium and the impact of immersive content on subtitling practices are discussed. Moreover, the different studies on subtitles in 360º videos carried out so far and the obtained results are reviewed. Finally, the results of a corpus analysis are presented in order to illustrate the current subtitle practices by The New York Times and the BBC. The results have shed some light on issues such as position, innovative graphic strategies or the different functions, challenging current subtitling standard practices in 2D content.

Educar la mirada: Un proyecto de creación audiovisual para sujetos no productivos.

Multiscreen society bombards us with images about which we can not think, to this is added a technological development that is hast urned us as a issues – receivers of pictures / images in our daily lives. Thus arises a need to deepen the possibilities of emancipation that the current socio-historical landscape can have. “Educar la mirada” we are a group of professionals in education and audiovisual communication that pretend, through film- art and new audiovisual creation devices, to encourage literacy and audiovisual creation for life. We start from work with collectives whose artistic motive has no lucrative interest, such as the public school; hence our interest in non-productive subjects. This project arises from the work carried out by the Trabenco Educational Community ( Public School ) in relation to the environment that exists between childhood and the audiovisual media.Theories of reflection on audiovisual literacy and ways of doing creative people who have a clearer meaning for our approach are: F.P.R Bergala, work CineSinAutor, proposals for Medvedkin, language patterns Alxander and creative crystallizations by authors such as Trier, Rossellini, Rodari, Vigotsky or Svankmajer.This project aims at a careful attention to the audiovisual with the intention of giving it a use beyond stagnant paradigms, where the possibilities we seek are those that make effective the needs and purposes that are given by the collectives themselves.

As condições de sustentabilidade, a organização e os efeitos do midiativismo no Rio de Janeiro

Este artigo é o segundo de uma trilogia sobre midiativismo. No primeiro, recentemente publicado, são abordadas as origens e as condições sociais para formação de seus coletivos; no terceiro, será retratada a ideologia dos mesmos. Neste, o foco está centrado no funcionamento de tais grupos e em como enfrentam as dificuldades do ativismo e da luta pelos direitos humanos, o enfraquecimento das manifestações populares e a hegemonia da mídia corporativa. As redes de cooperação formadas entre os midiativistas, a busca por recursos para sustentabilidade e as disputas entre os grupos são considerados aspectos centrais para a compreensão do fenômeno do midiativismo e evidenciam sua influência na transformação nos modos hegemônicos de fazer audiovisual.

Plataformas de creación colaborativa en el audiovisual.

Different platforms of collaborative work oriented to the audiovisual have proliferated in the last ten years, offering solutions for diverse problems of the creation; from the help to the search of financing, networking, talent search, script reading, among others, they are announced like options only for professionals. The platforms try to break through as a globalized collaborative creation alternative, in a more horizontal side, within the already very vertical and even dictatorial film industry. In addition, a distinction is made between the concepts of collaborative, collective and participatory creation, in order to arrive at a definition of what are the types of platforms on which the article focuses. Thanks to interviews with representatives of the Nerdeo, Filmarket Hub and Frameio platforms, we will learn about project data made by managing the platforms and how they interact with the agents present in the audiovisual creation chain.

Proceso creativo de las agrupaciones carnavalescas de Cádiz.

El carnaval de Cádiz y las agrupaciones que participan en el COAC (Concurso Oficial de Agrupaciones Carnavalescas) tienen un número de seguidores que cada año aumenta. Este incremento se debe a la difusión de los medios de comunicación y las redes sociales, pero sobre todo a su cantidad y calidad creativa. Es una manifestación cultural que cada vez está cobrando mayor relevancia académica. Este artículo tiene como objetivo estudiar lo que siempre permanece oculto a los seguidores y espectadores (e incluso entre los propios autores y creadores de las coplas): el proceso de creación audiovisual de las agrupaciones (letra, música y puesta en escena). Aquí, además de hacer una panorámica sobre los procesos de creatividad de los autores, se analiza por primera vez si, independientemente de la modalidad, siguen un ritmo parecido; si bien cada una es distinta; o si tienen tiempos y organizaciones comunes. Mediante una metodología cualitativa y de seguimiento semanal del proceso creativo a diversos autores de cada modalidad concursante, este artículo da respuesta a las cuestiones antes señaladas sobre las agrupaciones del carnaval de Cádiz, las cuales pertenecen a la cultura popular con gran potencial comunicacional. Se trata de un fenómeno que, aunque tiene un proceso disperso e individualizado, se dan coincidencias troncales en el orden de creación. Los resultados obtenidos pueden servir para profundizar en el conocimiento de este fenómeno así como posible ayuda a quien quiera acercarse a la creación carnavalesca.

Onomastique et parodie dans la saga bédéïque "Crepúsculon"

Le mythe du vampire a inspiré de nombreuses créations littéraires et audio-visuelles qui ont, pour certaines, cherché à atteindre un public adolescent. C’est le cas de la saga cinématographique Twilight (adaptation des romans de Stephenie Meyer) que les quatre BD espagnoles du cycle Crepúsculon s’emploient à parodier. Nous aborderons Crepúsculon en adoptant une approche exclusivement linguistique, et, en particulier, dans le cadre de cet article, onomastique, par le biais des tropes rhétoriques.

Youth empowerment through the creation of i-docs: Educational and social impacts

Information and Communication Technology (ICT) are key elements in the educational process of teens. Consequently, efforts should be made to integrate ICT into educational plans and policies. Based on this premise, HEBE has been launched – a study on youth empowerment that was funded by the Spanish Ministry of Economy and Competitiveness and carried out by five universities: the University of Girona, the Autonomous University of Madrid, the Autonomous University of Barcelona, the University of Barcelona and Pompeu Fabra University. The project, based on media literacy and transmedia skills, involves the creation of an interactive documentary (i-doc). The HEBE i-doc: digital prints relates the experiences and reflections during the maturation stage of six youngsters with different cultural, educational, family and social backgrounds and profiles. This exploration was carried out through their own audio-visual creations, in a life story format. The i-doc has the dual purpose of (1) devising a methodology based on digital ethnography, and (2) creating an interactive platform for sharing experiences and promoting the visibility of these issues via citizen science.

El vídeo-ensayo en las metodologías artísticas de investigación en educación

El vídeo-ensayo, como forma de pensamiento audiovisual puede considerarse una forma aislada de creación audiovisual experimental, aunque también conforma una estructura pedagógica de aprendizaje hábil para la alfabetización audiovisual, y un instrumento válido para la indagación en diferentes contextos de investigación, especialmente en Investigación basada en Artes e Investigación Artística. La aplicación de este instrumento como herramienta de investigación, dentro y fuera de las Artes, ofrece distintas estrategias que pueden ser muy útiles en todo tipo de estudios en Ciencias Sociales y Humanidades. Este artículo revisa su desarrollo en diferentes contextos de investigación educativa y los distintos instrumentos metodológicos generados para su aplicación en estas investigaciones, entre los cuales destacan: el vídeo-registro, la vídeo-referencia y la vídeo-evocación. El texto, además, hace referencia a algunos proyectos y programas exhibitivos, como la ‘Muestra Internacional de Videonarración A/r/tográfica’, que desde hace siete años ofrece su cita anual en la Universidad de Granada y en las que se exhiben, revisan y promueven un buen número de estas propuestas de investigación audiovisual que hacen uso de los nuevos instrumentos metodológicos basados en el vídeo-ensayo, posibilitando con ello el acceso a algunas de estas creaciones e investigaciones audiovisuales.