Audiovisual Images Research Articles

Unleashing the Future: Deleuze's Crystals of Time and Theo Angelopoulos's The Travelling Players

This article discusses The Travelling Players (1975), Theo Angelopoulos's provocative film, by upholding the priority the director's audio-visual images assign to the future as what Deleuze calls ‘the pure and empty form of time’. It also argues that The Travelling Players supplements the Deleuzian quartet of crystal-images with a new type of crystal-image: Angelopoulos crafts images of extraordinary consistency that act as filters, splitting and sieving time at once, a kind of audio-visual refinery laid out on the silver screen, with the distillation process dedicated to blocking repression, its past and present iterations, from contaminating the yet-to-come, banishing the negative from returning in the future.

The Non-Anthropocentric Other in Film: Towards a Spectral Ethics of Film

This article aims to add a further perspective to the discussion of the relationship between film and ethics. This perspective is important in today’s context, as the omnipresence of digital and mobile audiovisual images in everyday life increasingly determines our thinking and behaviour. However, there is a lack of appropriate critical reflection and ethical understanding of these images and their ontology. This article proposes a machine ethics of film from a film-philosophical perspective. Such an ethics draws on critical posthumanism, namely on Karen Barad’s “ethics of mattering”, which explicitly relates to Emmanuel Levinas’ philosophy of the Other and their death. Thereby, special attention is given to the ontological nexus of film and death, as well as to the idea of film’s spectrality (drawing on, e.g., Derrida, Barthes, and Leutrat), a context that is discussed along with Barad’s diffractive view on quantum entanglement. Following from the author’s earlier approaches to Barad’s agential realism in the context of film-philosophy and certain Heidegger-based arguments set out in earlier writings about film and death, this article introduces the figure of what is called the “machinic spectre of film”. From here, the outline of a possible spectral ethics of film is considered by giving reasons for the exploration of further questions.

Landscape in Technological Image The Complex Aesthetics Perspective

In the Anthropocene, what contribution to landscape design and creation can the technological image, whose action, or agency, is global in scope?Beyond being a functional backdrop for human action and an object of images provided by devices designed for control in virtual mappings and telematic geolocations, can the landscape also be the subject of technological images that are able to promote a new paradigm of reciprocity between man and cosmos? In an attempt to answer such questions, this contribution is aimed at reconsidering in epistemological terms certain notions of the aesthetics of the technological image and, in particular, of the audiovisual image: immersivity, synesthesia and Stimmung.In the perspective of the development of a complex aesthetics, it is hypothesized that the aesthetic experience of the artistic audiovisual image of the landscape can potentially promote a sensitive knowledge of the environment, capable of contributing to the development of an ecological sensitivity.

I.V. Stalin as a character in Soviet newsreels of the pre-war years (1930–1941)

The topic of the article is the reflection of the person of I.V. Stalin in Soviet newsreels (newsreels and documentaries, special issues of newsreels, documentaries) in the period from 1930 to mid-1941. Based on a content analysis of a pre-made sample of film documents stored in the Russian State Archive of Film and Photo Documents, the author traces the evolution of Stalin’s screen image from one of the prominent party functionaries – Lenin’s comrades-in-arms to the sole leader of the Soviet people. The subject of a detailed analysis are little-known fragments of newsreels, in which the historically accurate audiovisual image of Stalin, the content and manner of his public appearances make it possible to give a more accurate and objective assessment of not only his personality, but also a number of important historical collisions of the USSR during the Stalin period.

Investigation of Teaching Gallery in Clinical Teaching of Ultrasonic Medicine

In the course of ultrasonic medical teaching, disease images are indispensable. However, the randomness of real-time teaching case resources often affects the smooth development of clinical ultrasound teaching. Based on the picture archiving communication system, the audio-visual images and clinical data of cases were collected and the teaching gallery was established. The gallery can be used for teaching common diseases, rare diseases, new ultrasonic technology and interventional ultrasound to ensure that the teaching content is consistent with the teaching process. It can overcome the uneven distribution of diseases, some patients poor teaching compliance and other practical clinical teaching problems, so as to improve the effect of ultrasonic clinical teaching.

Mediating the elemental: an immaterialist ethics for ecomaterialist media theory

ABSTRACT Up until the 19th century, the notion ‘medium’ described the natural elements – e.g. earth, water, fire, and air. John Durham Peters’ media philosophy (2015) demonstrates how contemporary technical media rely on this forgotten elemental dimension; as cultural techniques, media can reveal the elemental’s environmental sense. Against its broader philosophical background, I extend Peters’ account into a ‘trans-materialist’ film-philosophy: I claim that the notion of the elemental stands, and mediates, ‘between’ the materialist tradition – currently operative in ecomaterial media theory (e.g. Cubitt; Ivakhiv; Parikka; Parks; Starosielski; Vaughan) – as well as the ethico-existential, immaterial dimension that belongs to the elemental. Two philosophical readings support this mediating aspect of the trans-material philosophy: Levinas’ immaterialist ethics ([1961] 1969) and Bachelard’s ‘material imagination’. Levinas’ ethics underscore that existence is defined in relation to alterity; the enveloping elemental environment enables developing a relational sense of self. Additionally, Bachelard’s materialism invites us to reimagine our cosmic connection to the material world – and I argue it is the medium of film that expresses this potential most dynamically. As moving audiovisual image, cinema’s technical form fosters, for the immersed spectator, a renewed sense for our elemental environment.

Can't read my broker face?—Tracing a motif and metaphor of expert knowledge through audiovisual images of the financial crisis

AbstractBased on the question of the representability of economy and economics in audiovisual media, developments on the financial markets have often been discussed as a depiction problem. The abstractness and complexity of economic interrelations seem to defy classical modes of storytelling and dramatization. Nevertheless, public opinion about economic changes and dependencies crucially relies on audiovisual media. But how can the public communicate in images, sounds, and words about forces that are out of sight and out of reach, and can supposedly only be adequately grasped by experts? In a case study on audiovisual images of the global financial crisis (2007–), this paper tracks and analyzes a recurring motif: the staging of expert knowledge as close‐ups of expressive faces vis‐à‐vis computer screens in television news, documentaries, as well as feature films. It draws on the use of digital tools for corpus exploration (reverse image search) and the visualization of video annotations. By relating and comparing different staging strategies by which these “broker faces” become embodiments of turbulent market dynamics, the paper proposes to not regard them as repeated instantiations of the same metaphor, but as a developing web of cinematic metaphors. Different perspectives (news of market developments or historical accounts of crisis developments) and affective stances toward the global financial crisis are expressed in these variations of the face‐screen constellation. The paper thus presents a selection of different appearances of “broker faces” as a medium for an audiovisual discourse of the global financial crisis. A concluding analysis of a scene from Margin Call focuses on its specific intertwining of expert and screen as an ambivalent movement figuration of staging insight. Between the feeling of discovery (of a potential future threat) and the sense of being haunted (by a menacing force), the film stages the emergence of a “broker face” in an atmospheric tension between suspense and melancholy. We argue that the film thereby reframes the motif and poses questions of agency, temporality, and expert knowledge.

Napoli fürs Sofa

Abstract Using a famous commercial shown on German-language television from the 1980s, this article analyses the media staging, reactivation and transformation of audio-visual images of Italy at the turn of the 20th and 21st centuries. The case study operates at the intersection of music history, the advertising and insurance industries, mass media and global tourism. It interweaves musical, technological, socio-cultural and discursive perspectives. In doing so, it demonstrates how key acoustic motifs become nationally connoted carriers of meaning in the context of the cross-media production and dissemination of clichés relating to Italy in international everyday culture.

Emotion-Generating Mechanisms in Television Programmes

The aim of this article is to present the mechanisms of mediatisation of emotions in TV broadcasts in relation to the messages concerning the SARS-CoV-2 pandemic. The pandemic time has radically changed the way television works. The production of many TV programmes has been suspended around the world, and the way journalists and editorial staff work has changed, yet the viewership during the pandemic grew all over the world, despite negative emotions being generated.
 The study relies on a qualitative analysis of the emotion-generating mechanisms in the audiovisual image. The research material was TV programmes about SARS-CoV-2 in March–June 2020. The research tools used permitted an analysis of the content of the message and its formal side (sound, image, graphics, music). The final results were divided into two areas of emotion-generating mechanisms: formal (forms) and thematic (content).
 The analysis shows that especially negative emotions were evoked in TV programmes during the pandemic: threat, sadness and fear. At the level of form, the following mechanisms were revealed: visual enhancement, gradation, giving meaning, contrast and generalization. In terms of content mechanisms, one can observe the mechanism of drama, content accumulation (blocking), exposure, variable dynamics of positive and negative content, and narrative mechanisms. The observed mechanisms of generating emotions may also lead to manipulation of the recipient through the repetition of negative information or the use of authorities.
 The conducted analysis confirmed the importance of combining form and content as well as strength, rhythmization and repetition of specific messages in the audiovisual message. The article may be the basis for research on the relationship between emotions and cognition, as well as research on the reception of audiovisual content.

Cinematic Representations of Iran after 9/11 and their Instrumentalization by the American Foreign Policy

This paper is part of PhD research that studies the audiovisual representations of Iran by the American Popular Culture from 1973 until the present, emphasizing the films and series representing the country that were released after 2001 and were mainly productions of the Hollywood Industry and the Conglomerate American Media. Findings so far suggest that the majority of the audiovisual images referring to Iran construct the profile of a country that is Oriental, backward, condoning human rights violations, and being described as a state sponsoring terrorism. Such descriptions endorse the country’s positioning on the “Axis of Evil” and legitimize American foreign policy in the Middle East. What is striking is that the majority of the biased cinematic storytelling regarding Iran does not directly coincide with the skyrocketing Islamophobic depictions of Arab Muslim populations, which was one of the many repercussions of the tragic events of 9/11, but rather the majority of the racialized viewings of Iran seem to take place during 2005–15 and can be associated with the presidency of Mahmoud Ahmadinejad, the agony of Western governments for non-proliferation of Iran and the imposition of economic sanctions to the country because of its nuclear program.

김종삼 시와 영화의 친연성 연구

The purpose of this paper is to reveal the affinity between Kim Jong-sam’s poetry and film. Under the setting that the audiovisual image and rhetorical qualities that appear in Kim Jong-sam’s poems can be realized in movies, the interface between the two genres was examined. We focused on image presentation and rhetorical devices for films that are closely related to Kim Jong-sam’s poetry. This method is an inferred hypothesis that the artistic achievement of his poetry was specifically reproduced and expanded in a specific film. In a reality where the demand and value of visual aesthetics are increasing, the image operation of poetry expands the aesthetic framework and forms an axis of fusion art. Combining the poems of Kim Jong-sam, who preempted cinematic sensibility, with actual films is to promote fusion between genres. It is the discovery of a literary film that reads poetry in film. This is a work that finally confirms that Kim Jong-sam recognized himself as an ‘artist’, and is a poetic possibility that visual aesthetics can reproduce.

Legalization of live game streaming through statutory licence in China

Live game streaming depends on the use of audiovisual images of the games play, which may infringe the copyright of game developers. In recent years, there has been a surge in copyright litigation initiated by game developers against players/streamers in China. The courts needed to resolve several fundamental copyright issues in these cases, such as those pertaining to copyright subject matter, economic right, and copyright limitation. This article provides an in-depth exploration on copyright doctrines relevant to live game streaming industry, following by a proposal of new statutory licensing mechanism specifically for live game streaming. We argue that the proposal can properly balance various interests of different stakeholders in the game industry, such as incentive and proper reasonable compensation for developers, platforms’ dissemination of entertaining information to the audiences, and gamers’ development of professional skills. Under this mechanism, streamers would be allowed to stream games without permission and streaming platform operators would be automatically licensed for game streaming and obliged to remunerate game developers. Compared to the traditional “one-to-one” licensing, the proposed licensing scheme would effectively reduce transaction costs and improve licensing efficiency.

Conversational Implicature to Hide Meaning in the Dialogue Script of Alice Through the Looking Glass

The importance of language in human life cannot be overstated. People may readily interact with others through language, and many of us have used implicature in a conversation, not just in everyday speech but also in a movie. A movie is a collection of audio-visual images depicting character conversation; the language used in that communication has implications and meaning. The goal of this research is to investigate a conversational implicature. Conversation analysis was used in the study. A dialogue screenplay from Alice through the Looking Glass was used as the data. The information was acquired via downloading the film 'Alice through the Looking Glass,' watching and listening to it, transcribing the spoken utterances into written utterances, and then analysing the transcription. All variants of conversational implicature, including generalized conversational implicature (GCI), scalar implicature, and particularised conversational implicature, were revealed in a dialogue script by George Yule (1996). GCI was realized in 8%, scalar was realized in 52%, and particularised conversational implicature was realized in 8%. The data presented above demonstrate that particularised, generalized, and scalar implicatures are connected and complementary in implicatures, despite the fact that particular conversational implicatures are a type of conversational implicature distinct from general conversational implicatures. However, the fact that the researchers felt using conversation analysis in a movie dialogue script was a smart idea in this research. Further research was expected to continue by employing another movie's script at a different level to provide a different perspective.

Střípky z ostravské archeologie

The article describes the online project “Střípky z ostravské archeologie”, which managed to place in the “Zlatý mamut” competition in 2022. The project could not have been created without long-term professional work, therefore the article outlines also the development of archeology in Ostrava. The main content of the project are the videos, each of them about 7–10 minutes long. Through these videos are introduced to the public the results of the in many cases interdisciplinary work. The videos are placed on the YouTube channel of the Ostrava Museum. In the caption below the individual videos is always offered additional online content or literature for more information. The preparation of the videos begins with the narration of the text and continues with the overall processing of the audiovisual image, including subtitles. More popular are those videos, which convey a certain story (A Girl Named Mariana) or discuss a castle (Landek, Poslední ostravský hrad) or a treasure (Hulvácký poklad). In the future it is planned to expand the topic of videos by other independent projects.

Um Duplo Olhar Sobre As Imagens Animada e Filmada

This paper aims to analyze the dichotomy between the filmed (live-action) and animated images: the daily and night aspects of the images proposed by Gilbert Durand. This look comes from a study on real and animated images, presented in the doctoral thesis “The Representation of the Diegetic Imaginarium by Animation in Live-action Cinema” (2018). In this thesis, based on the concepts of “cool and hot media” from “Understanding Media” (McLuhan, 1964), one considers Animation a Cool medium, while live-action a Hot medium. Therefore, as McLuhan’s work looks at the image dichotomy from the communication domain, it is possible to complete the analysis on this axis through the concepts of Durand’s image. Thus, these concepts start directly from the imaginary studies. The methodology for such an analytical development is the case studies about films that use animated images to represent a part of their narratives. Analyzing them, considering these images by both aspects: in the field of communication (Hot and Cool Media), and the imaginary (daily and night aspect of the image). These analyses are a complementary look to the one presented in the thesis, along with they offer a double look to the study of the Audiovisual image.

A sound brand identity design: The interplay between sound symbolism and typography on brand attitude and memory

A growing body of research testifies that humans naturally deduce certain images from auditory cues as they do from visual cues. In the context of branding, this paper bridges two streams of research to reveal how the interplay between the auditory and visual images embedded in brand identities influences consumer response. Study participants were exposed to brand logotypes whose brand name and typography either agree or disagree in the images they convey. The results revealed that audiovisual image congruence in brand identity leads to increased brand appeal and quality perception as well as memory. In addition, the effect of auditory images and that of visual images were found to equally influence associative mappings such that neither dominates the other. These findings provide an evidential ground to reason and further explore how business enterprises may effectively communicate their brand images through multisensory channels by providing guidance in the intuitive decision-making process involved in brand naming and visual identity development.

AN ANALYSIS OF PLOT IN FILM THE THEORY OF EVERYTHING BY JAMES MARSH

Plot is one of the important elements contained in narrative literary works. Plots in literary works, films, stories, or other narratives are sequences of several events, and each of these events influences subsequent events. Now, the film is considered as a powerful communication medium for the masses that are being targeted, because of its audio-visual nature, that is, vivid images and sounds. With pictures and sound, movies can tell a lot in a short time. This study focuses on the analysis of how the plot is used in the film The Theory of Everything. Thus, the aim is to describe the plot in the film The Theory of Everything.This research used a descriptive qualitative method. First, the writer categorizes several fragments of a sentence, dialogue, and scene. Next, look for, analysis, and interpret it to obtain the plot structure in accordance with the theory. From the results of the analysis obtained the answer that the film is told in its entirety starting from exposition, rising action, climax, and falling action. And the film closes with a closed ending. So the film goes forward or progressive plot. The authors hope that the results of this study will benefit future researchers who are interested in the work of literature in the form of films, especially in the plot. Keywords: Film, plot

감응(感應)을 위한 소리와 이미지의 변주 - 김응수 감독의 [물속의 도시]를 중심으로

This article analyzes the unique capabilities of sound and visual images in The City in the Water (2014) and investigates how ‘affects’ are evoked by these discordantly choreographed audio-visual images. The documentary explores the traces and memories of 300 villages submerged in the manmade Lake Chungju, which was created by the construction of a dam in the 1980s. Unlike in his essay films, the director, Kim Eungsu, rather focuses on the contrapuntal juxtaposition of the images in this film by excluding the essay-style use of his own voice. He operates a soundscape, including sounds of nature around the lake, sounds of an archived radio show, and villagers’ voices and features visual images such as landscapes of the area, close-ups of the villagers, and archival photographs. While sounds of unknown origin pop up to reverberate, the camera focuses on what is visible on the screen as it reveals its gaze. Not in synch, the images appeal to the body of viewer to sense and perceive more than what is visible and audible as offered in the film. Consequently, the images lead us to haptic experiences due to the logic of sense such that what each image represents becomes more obscure and complex, and we may be affected such that we perceive a new time-memory. As these non-representational images provoke affect, the film renders our experience over the spatialization of time. Finally, the film summons the past, which could not be seen or heard, to ‘now-here’, for the viewers to sense and perceive. We, now, can invite history as image and the film becomes time-image cinema. This study examines why viewers experience such embodied affects.

Scenic Video Communication: the audiovisual enunciation in the theater

This research analyzes the use of audiovisual technology in the context of the video-scenic drama, a hybrid product that results from the integration of audiovisual enunciation in theatrical representation. The purpose is to determine the modifications that the audiovisual projection introduces in the fundamental components of the drama and in its construction phases. Through the in-depth interview or scientific interview, data has been collected from ten experts in the field of theatrical creation. Once analyzed, exposes a specific poetic that rules the construction of the video-scenic drama, focused on a figurative expansion of the character's action and an expansion of space and time, based on the fragmentation and flexibility of the audiovisual image. Similarly, it has been shown that the use of audiovisuals broadens the elective possibilities of the stage director and forces to establish of new constructive strategies.

«КОГДА РОЖОК ОТТАЯЛ, ПОЛИЛИСЬ ЗВУКИ МУЗЫКИ…»: ПАВЕЛ ЛУНГИН О СОЗДАНИИ ФИЛЬМА «ТАКСИ-БЛЮЗ»

Russian film director Pavel Lungin explores the topic of independent cinema during perestroika, using the example of his debut film Taxi Blues, which received one of the first international awards in post-Soviet Russia—the Best Director Prize and the Special Mention of the Ecumenical Jury at the 1990 Cannes Film Festival. In the interview, the interlocutors discuss the directorial and dramaturgical tools: how symbolism is interpreted in a historical context, how the audiovisual image is constructed, what are the signs of a chronotope — and explore the image of a man at the crash of an era. For instance, in Taxi Blues, Pavel Lungin intentionally contraposes the two male characters—that of Pyort Mamonov (the image of the 90s), and of Pyotr Zaichenko (the image of a Soviet man)—clashing them against each other not only plotwise (through a dramatic conflict), but also aesthetically (through fundamentally different physiognomy and acting plastics). The director analyzes the specifics of auteur and genre filmmaking, dividing his artistic biography into a “script-writing” period, when his films were highly successful in Soviet distribution, and a “directing” period, when he, being in the new historical conditions, began to make independent auteur films. Another question raised is why a full-fledged “New Wave” has not emerged in Russia, similar to those that had formed in French and English cinema. Lungin recalls and evaluates the forgotten figure of Marin Karmitz, who not only produced the New Wave directors, but also had an auteur cinema distribution network—an interesting experience of distribution in Europe, which can be actualized in scientific research to answer a very timely question: can auteur films be successful at the box office? Thus, the interview covers not only the early period of Pavel Lungin’s work (given that at the time of Taxi Blues there was no Internet yet, and many reviews and analytical articles about the film are still not digitized). Most importantly, the film Taxi Blues fits into the historical context; and this fact creates a cultural field both for modern interpretations and for understanding the art of perestroika—information about which is still insufficient, resulting in the absence of full-fledged analytical comprehension. In the interview, we also trace parallels with the processes that were taking place in world cinema—the New Wave in French cinema, the British “angry young men”, and the “Youth Rebellion” in Hollywood.