Audiovisual Project Research Articles

Uninhabited territories: eye-machine, operative images and geopolitical conflicts in the works of Agencia de Borde and Femke Herregraven

This article aims to analyze how the drone - in its prosthetic, machine and automated dimension - and the operative images that emerge from the recording of certain sites intervened with war and extractivist motives generate ecomedial and techno-imaginary ecologies of seemingly uninhabited territories. The above is developed from the analysis of two audiovisual projects: The Landmine Project (2016-2020) by the Chilean collective Agencia de Borde and Prelude To: When The Dust Unsettles by Dutch artist and designer Femke Herregraven (2022). The former explores minefields laid between 1973 and 1983 in the Atacama Desert in Chile, while the latter shows the modus operandi of a digital twin for mining in the Congo. These are seemingly untouchable territories, out of circulation, where, given their imagined future - either as explosive or exploited territory - a drone and its digital eye appear to be the only way to visually access these places, which are presented as inadmissible and uninhabited. Both cases expose geopolitical conflicts that are primarily articulated and mediated through the production and manipulation of images and technical intervention. In this way, the development of the text proposes to think about forms of contemporary violence that take shape through specific visual devices and rhetorics.

The increase of International Audiovisual Productions in Greece - Impact on Tourism and the Greek Economy

In this paper is being examined the growth of international audiovisual productions being partially or entirely developed in Greece and the central role of the Greek public authorities in assisting this tourism-generating industry grow even more. This study tries to pinpoint the most common impediments that the audiovisual media industry confronts when deciding to select Greece as the location for an audiovisual project. Sustainable practices that are proposed aim to further attract and develop analogous initiatives in the Greek territory. Some of the most important benefits of the realization of such projects for the local communities are pointed out such as the increase in income, the creation of new jobs and the general boost of the local economy. The impact of audiovisual productions on tourism is also related to the "film effect" and the contributory role of audiovisual productions to promote a location’s attractions. This paper focuses on the international audiovisual productions industry’s expansion with an emphasis on the positive effects that the cultural-economic audiovisual productions have in strengthening both local economies and the Greek audiovisual sector.

Garibaldi Film Commission: capturing audiovisual projects and audiovisual tourism in the municipality of Garibaldi, RS, Brazil

O artigo tem objetivo de analisar a atuação da Garibaldi Film Commissison e sua relação com o desenvolvimento do turismo cinematográfico no município. Com abordagem qualitativa, a metodologia envolveu um estudo bibliográfico, entrevista e mapeamento das produções audiovisuais. Em relação aos resultados é possível apontar que a criação da Garibaldi Film Commission contribuiu para ampliar o número de projetos audiovisuais, movimentar a economia local e incentivar o desenvolvimento do turismo audiovisual. A variedade das locações, a infraestrutura, a receptividade da comunidade e as parcerias estabelecidas representam aspectos significativos na consolidação da região como um destino film friendly.

Genre and stylistic features of Ukrainian fiction cinematography of the period of independence

The article is devoted the definition of genre and stylistic features of fiction films produced in Ukraine from 1991 to 2022. Using the analysis of theoretical works on film studies, genre theory, semiology and film history, it is proposed to define the concept of “genre” as a set of repetitive syntactic and semantic structures, the main connections of the genre with the socio-cultural and historical context are outlined. In particular, after analyzing 949 audiovisual projects from the «Base of National Films of Ukraine», which have been created during the period of Independence, it was found that the largest number of produced audiovisual works belongs to the fiction type of cinema. The presence of syntactic and semantic structures of 46 genres has been identified according to the genre and thematic direction of fiction cinematography. It is proved that the most popular genre in production is drama – 25 % of the total number of feature films. This percentage is a significant advantage over the presence of other genres. Analysis of data from the box office of cinema distribution in Ukraine for 2020 has revealed discrepancies between the number of produced films of a certain genre and thematic direction and the preferences of Ukrainian viewers. In this way, the assumption that the predominance of certain genres in the production of Ukrainian audiovisual art reflects the cultural needs of Ukrainians has been refuted. Such a comparison also disproved the claim that the absence of certain genres in the Ukrainian media space testifies to the foreignness of the narrative structure of such films to the cultural characteristics of Ukrainians, because the top five audience preferences include, for example, the horror genre, which is minimally present in Ukrainian production. The results of the study have theoretical and practical significance for film production in Ukraine, and also form a research field for further study of the development of each individual genre present in Ukrainian audiovisual art of the period of Independence.

THE SCRIPT AS A STRUCTURAL COMPONENT OF THE DIRECTOR’S CREATIVE WORK IN MODERN CINEMATOGRAPHY

This scientific work aims to deeply and comprehensively study the scenarios and the role of the director in the modern cinematographic process with the purpose of revealing the system of their interaction and influence on the creation of cinematic works of art. It is necessary to investigate the screenplay as a structural component of the director’s creative work. In exploring the issues, it is necessary to analyze the importance of history as a fundamental aspect of the film and a key structural element in the creative work of the film director. In this context, carefully consider how the screenplay contributes to the evolution of characters, determines the plotline, and influences the emotional spectrum of viewers. Attention should also be paid to the role of screenplays and the interaction between the screenwriter and the director in the process of creating a film. Research methodology is based on the utilization of the following methods to achieve its objectives. Firstly, the theoretical method is employed for the analysis of scientific publications related to screenplays and genres in cinematography. The method of generalization is used to formulate conclusions based on the analysis of literary sources and processing of acquired information. Additionally, the method of systematization is employed to gather and structure the information used in the research. Overall, the research methodology includes analysis, generalization, and systematization of information, which aids in exploring the issues of screenplays and genres in cinematography from a scientific perspective and formulating well-founded conclusions. This research makes a significant contribution to the understanding of the film creation process and unveils new perspectives for further development in this field. It inspires further research and discussions aimed at optimizing collaboration between screenwriters and directors to achieve even greater innovative and creative potential in cinematography. The article provides a deep analysis of the crucial role that screenplays play in contemporary cinematography. Not only their structure but also the elements directors use in interaction with the storyline during film creation are explored. This in-depth analysis reveals significant aspects that are crucial for working with the storyline in the process of creating an audiovisual project.

Co-creation and learning: an assessment of the pedagogical proposals in collaborative interactive non-fiction

Audiovisual co-creation has always had a pedagogical nature, which has been maintained in its adaptation to digital communication, although it is applied in different ways. This study analyses the pedagogical proposals in collaborative interactive non-fiction in the digital environment, and compares them with previous projects of participatory practices. As case studies we selected five interactive audiovisual projects that stand out for their educational intent and their preparation of teaching resources, and analyzed their pedagogical proposals. First, we looked at pedagogy in pre-digital or analogical collaborative creation, which was used to develop an original analytical table. We used this table to study the five collaborative projects through three identified categories. The results show that these categories continue in initiatives today, although the findings show a shift in the pedagogy about audiovisuals, particularly concerning the technical aspects, as well as a weakening of the connection between learning and participation in the collective production. Finally, we can highlight that combining educational practices with collaborative production on the Internet is important to increase citizen participation and give a social perspective to this audiovisual modality.

Experiences of Guerrilla Cinema in the Quilombo of America

The production and use of audiovisual in and out of the classroom, the social cinema in the communities, and the routes of a black and quilombola cinema in the state of Pará, Amazon, constitute the dialogic perspective of this article, which presents and discusses artistic and pedagogic audiovisual methodologies in the process of involvement of the youth of a black rural community, which led to the creation of the movies “O Quilombo É Meu Lugar, A Minha Casa”, and “A Visita do Padroeiro”, resulting of the partnership between the FICCA – International Movie Festival of the Caeté Region, and the ARQUIA -  Quilombola Remnants Association of the America, located in the municipality of Bragança, in the second largest state of Brazil, between the months of April and December of 2021. The movies were produced in the context of the VI and VII edition of the festival, period which coincided with the COVID-19 pandemic, who intensely affected the quilombola populations, but never broke their spirit of resistence. The participants indicated that the Guerrilla Cinema through the production and propagation of audiovisual projects has been important to the quilombola empowerment and the fight against structural racism. The audiovisual production through the perspective of the Black Cinema can be construed as an innovative means of action research and social transformation.

Women in the documentary industry: Continuing inequality in the streaming age

Assessing women’s role in the audiovisual industry provides us with negative data regarding the number of women in the industry, which are also confirmed when factors such as their prominence or leadership in these audiovisual projects are considered. A quantitative and qualitative analysis was thus undertaken based on the need to examine this problem in depth to determine what is happening in the documentary or nonfiction genre, which has exhibited significant growth thanks to the demand for content from subscription video-on-demand (SVoD) streaming platforms. This research analyzes data on the number, prominence, and leadership of women through a review of the 35 Spanish productions in this genre that were produced and/or distributed exclusively on the three leading platforms in Spain between 2016 and 2021. Accordingly, the 2,099 jobs created by these productions have been evaluated, providing data on the occupations and level of responsibility that women had. The research findings confirm the overall data. In addition, they allow us to determine why, although the documentary genre has been associated with greater opportunities for women, this has not held true within the streaming market, where this genre has achieved a greater impact. This underrepresentation of women is especially prominent in the area of leadership.

Audiovisual gesture and spectromorphology: the Invalid Data W.E.S.T. project

ABSTRACT In this article, we detail a project that seeks to expand the ways in which the concepts of gesture and spectromorphology can be understood and applied in audiovisual projects. We argue that understanding spectromorphology in visual domains requires consideration of the wavelengths of light that give us an image. In this project, the complex interaction between clouds and solar radiation becomes the medium for understanding this concept of visual spectra. Invalid Data W.E.S.T. is a collaboration between media artist Grayson Cooke, audio engineer Ian Stevenson, and the experimental improvising group Wilcox, Encarnacao, Swanton Trio (W.E.S.T.), comprising three Australian composer-performers: Felicity Wilcox (piano), John Encarnacao (guitar), and Lloyd Swanton (bass). In this project, a multi-camera recording of W.E.S.T. in studio performance is combined with Cooke’s exploration of creative uses of satellite data. Satellite images of clouds rendered using infrared light are intercut with in-depth, multi-camera footage of W.E.S.T. captured during improvisation. The resulting audiovisual meditation draws parallels between spontaneous artistic processes, collaborative creation, and environmental phenomena. In this article, we explore how concepts of gesture and spectromorphology shaped the conception, production and post-production phases of the project, and how these concepts can be used to enhance the production of audiovisual work.

Instagram como herramienta motivacional docente: Estudio de caso

La actividad docente conlleva la formación y adecuación constantes en nuevas tecnologías y herramientas para el aprendizaje. El uso de redes sociales en los procesos de enseñanza-aprendizaje es una práctica cada vez más extendida, aunque su aplicación en términos de motivación y comunicación, como instrumento para promover mayor compromiso con el alumnado, todavía está pendiente. La presente propuesta contextualiza el empleo de Instagram como un útil que permite establecer vínculos de confianza entre los integrantes del proceso formativo, posibilitando la adquisición de conocimientos, así como de las competencias transversales asociadas al título de Ciclos Formativos de Grado Superior de Realización de proyectos audiovisuales y espectáculos, impartido en la Universidad Europea de Madrid. Para ello se analizan las publicaciones realizadas en una cuenta educativa gestionada por el docente desde 2017 hasta 2021, de cara a validar su uso y repercusión. Dicho análisis demuestra que los estudiantes demandan este tipo de iniciativas, siendo especialmente útiles en el contexto de trabajos prácticos, en lo relacionado con la información y comunicación de actividades a desarrollar, así como en lo concerniente a la visibilidad de sus proyectos y al fortalecimiento de la motivación hacia los contenidos de la titulación cursada.

Exploring the contemporary Moon Under Water through illustration: nostalgia and the power of the image

This article uses images from the visual essays produced for Plume of Feathers, an audio-visual project, to examine the notion of ‘reflective nostalgia’ as an attitude towards meaning-making within image creation, in particular illustration that can counter certain political uses of images that present a restorative–nostalgic world view. The project at the core of the article is concerned with the decline of public houses and their social function in the UK. However, the image of the pub is embroiled within the visual rhetoric related to the UK’s (2016) Brexit referendum. This article explores the ways in which the illustrated image can provide a different view of the pub that reveals the conceptual construction of the notion of ‘pub’ and offers a critical alternative. The constructed nature of the illustrated image is then explored for its potential to visualize the past differently, following Svetlana Boym’s proposal of reflective nostalgia in The Future of Nostalgia (2001) in order to address problems in the present. The article proposes that reflective nostalgia’s utility as a critical tool lies in its consideration of the key role played by the surface of the image, through the material signifiers of age. As illustrators, embracing these nostalgic triggers when making images allows the viewer to reconnect to the past with critical distance, thereby returning politics to the surface of the image, something that Fredric Jameson saw in Postmodernism, Or the Cultural Logic of Late Capitalism (1991) as recuperated and rendered politically neutral. Illustration is therefore cast as a meaning-making practice that shapes the world it operates within, with the article suggesting that by making nostalgic images, illustrators can exercise their agency as agitators.

Видеопроект по иностранному языку как технология организации самостоятельной работы обучающихся в неязыковом вузе

The aim of the study is to substantiate the effectiveness of such a technology for organising students’ independent work as a video project in terms of foreign language teaching for professional communication purposes at a non-linguistic university. The paper analyses the stages of working with a video project and provides a methodological review of the competencies acquired as a result of students’ audiovisual project activities. Scientific novelty lies in developing a methodology for working on a video project as a part of foreign language teaching at a non-linguistic university. As a result, it has been proved that professionally oriented foreign language teaching at a non-linguistic university through the video project technology increases students’ motivation to work independently.

Audiovisual Assignments as Service-learning for Social Justice in Latinx Communities

Although digital media projects are not new to Spanish heritage language education, the increased digitization of communication during the Covid-19 pandemic has afforded new digital educational opportunities (Guillén, Sawin, & Avineri, 2020). In Fall 2020, in lieu of a service-learning assignment in which students had to be physically present in a classroom context, I created a new final assignment for my SHL course: in small groups, students collaborated (virtually and/or in-person) to create a Spanish-language audiovisual project, such as a short video, to address an issue of social equity that affects Latinxs in Kansas, and they disseminated their work to a local Spanish-speaking public. The students engaged in the project in different phases throughout the semester: planning and investigation, script writing and revising, production, dissemination, and reflection. The assignment allowed them to develop both written and oral communication skills, gain experience working in teams, and connect their Spanish language development with their career goals and with social justice (Avineri et al., 2018). In Kansas, where many of our Latinx students describe having been instructed not to speak Spanish in school or targeted for their use of Spanish in public, students had the opportunity to challenge previously held perceptions and circulating societal and institutional discourses about what they, as children of immigrants, could do with the Spanish language.

Review: Contesting Modernity: Informalism in Venezuela, 1955–1975, edited by Mari Carmen Ramírez and Tahía Rivero, and El Techo de la Ballena: Retro-Modernity in Venezuela, by María C. Gaztambide

Review: <i>Contesting Modernity: Informalism in Venezuela, 1955–1975</i>, edited by Mari Carmen Ramírez and Tahía Rivero, and <i>El Techo de la Ballena: Retro-Modernity in Venezuela</i>, by María C. Gaztambide

Virtudes (e Misterios) and The Inner Memory: Emigration and Return as Identity Fragmentation and an Exercise of Post-Memory in Galician Diaspora

In this paper, we will analyse how Xesús Fraga’s novel Virtudes (e misterios) (2020) and María Ruido’s audiovisual project The inner memory (2002), by creating memory and post-memory of Galician emigration in the 1960s and 1970s, reconfigure the symbolic image of the Galician nation, which has always been defined on the basis of the discourse of mobility and emigration. Both authors, from the fragmentation of intimate memories and through an ambiguous pact with the reader, between the documentary and the fictional, bring us the stories of emigrant women—narratives in which identities are inevitably hybrid, fragmentary and far removed from homesickness as a defining factor of the Galician identity. Emigrant women do not fit into the hieratical traditional identity, which marginalises them because they do not fit the archetype of ‘widows of the living’.

The main methods of introducing design elements and graphics in video

The subject of the study is the process of many aspects of audiovisual creativity that must be taken into account when creating a video. The object of the work is to create a movie trailer through the use of design elements and graphics in the video sequence. The study examines the trailer of a post-apocalyptic fantasy genre called "Genesis", in which the two main characters are depicted as opposites. The work examines and describes in detail all the stages of creating a video trailer for the film, including visual representation (rendering the texture of the central objects, choosing a font to display the title of the film, controlling the movement of actors and moving frames), audio accompaniment of the video sequence (music, voiceover, sound effects). The paper notes that the main goal of all the stages of trailer development considered in the article is to create an audiovisual project of professional quality. The main methods used in the study are visual effects modeling and 3D modeling in Houdini, creating realistic matte paintings in Photoshop and video compositing in Nuke. The main conclusions of the study are those specialized programs that allow you to create a high-quality author's product. This software will become the core of the project, since it is in it that all the elements will be combined into one final clip due to the high-quality integration of various objects of the scene. The novelty of the research lies in the fact that within the framework of the work, the characteristics of the possibilities of working with various video editors and graphic programs were carried out, which together help the creators of movie trailers and other similar products to realize the tasks of entertainment and quality of the projects produced.

Archive, digital technology, and the inheritance of the Gwangju Uprising: the affect of the post-Gwangju generation of directors in Kim-gun (2019) and Round and Around (2020)

ABSTRACT This essay explores two recent documentaries on the Gwangju Uprising: Kang Sang-woo’s Kim-gun (Gim-gun, 2019) and Jang Min-seung’s Round and Around (Dunggeulgo dunggeulge, 2020). The Gwangju Uprising was a pro-democracy uprising that occurred in Gwangju, South Korea in 1980. In response to the uprising, the South Korean government ordered police and soldiers to massacre Gwangju civilians. Kim-gun sets out in search of the identity of a young man stationed in front of a truck-mounted machine gun in a photograph taken during the uprising. Round and Around, commissioned by the Korean Film Archive, is an audio-visual experimental project that was produced in 2020 to commemorate the 40th anniversary of the uprising. In this essay, I demonstrate that documentary directors Kang and Jang – who belong to the post-Gwangju generation and did not participate in, witness, or live through the uprising either directly or indirectly – find a way to reconnect with and inherit the historical memory of the uprising and bring the past to the present by appealing to affect and the senses rather than simply recounting historical facts and explicating the significance of the uprising.

Documents of Utopia: The Politics of Experimental Ethnography by Paolo Magagnoli

Reviewed by: Documents of Utopia: The Politics of Experimental Ethnography by Paolo Magagnoli Kamil Lipiński Magagnoli, Paolo. Documents of Utopia: The Politics of Experimental Ethnography. Wallflower Press, 2015. 215pp. In Documents of Utopia: The Politics of Experimental Ethnography, Paolo Magagnoli has undertaken the complex task of linking different aesthetic contexts through a study of experimental documentary audiovisual projects, treating the work of contemporary artists such as Hito Steyerl, Joachim Koester, Tacite Dean, Matthew Buckingham, Zoe Leonard, Jean-Luc Moulène, Ilye and Emilie Kabakov, Jon Thompson and Alison Craighead, and Aniri Sala. In what follows, I wish to develop three critical arguments that I hope will illuminate the book's central claims. Magagnoli's main goal is to understand how these artists' utopian vision has undergone a temporal shift that is more preoccupied with remembering the past than imagining the future. Second, he aims to understand how a thoroughly utopian look into the past can help us capture what is utopian and cognitively noteworthy in these representations. Oscillating between one context and another, the author constructs a discourse around a feature axis that allows him to grasp the nostalgia that resounds in today's discussion of how memory is expressed in art. Magagnoli advances the thesis that this is an essentially reactionary attitude in which the artist seeks a return to historiography as a way of reliving the past. The author looks for signs of consumer capitalism in the films, photographic documentary images and internet connections he studies. Magagnoli's research recalls Bernard Stiegler's understanding of the ways technology enables the exteriorization of repressed, utopian visions of the past. The notion of utopia introduced in his title also suggests Ernest Bloch's views on imagination, emotions, and desires, and on the emancipatory potential they hold for building on past failures. The vision of utopia imagined by Magagnoli is mirrored in daydreaming, fairy tales, myth, travelogues, and in all manner of artistic, literary, and even religious expression seeking to articulate a world in which hope becomes a cognitive act that serves as catalyst for social change. His understanding of utopia also evokes the [End Page 115] historicist perspectives of Thomas More and Gianni Vattimo, a perspective that enables a critical and progressive approach to nostalgia and lets him diagnose a "missing something" in the contemporary political and cultural landscape. In this light, Magagnoli's book outlines the image of social utopia presented in various artistic forms and developments. The author sketches "distorted mirrors" of a real place that are juxtaposed with fragments of images from different periods, yet that are seen in terms of another place. For Magagnoli, it is important to try to introduce a perceived heterotopic grid that simultaneously captures the coexistence of many transient events and various temporal narratives, an approach that Gianni Vattimo has advocated. Magagnoli does not limit himself to discussing the philosophical dimension of the utopia he analyzes, but also seeks to specify the dimensions of the application of philosophical thought to critical strategies that involve appropriation, re-enactment, and architectural ruin. The first of these strategies concerns recycling old visual themes and content as a characteristic feature of postmodernism. Theoretically speaking, this move manifests as a sense of the general loss of historicity and the exhaustion of those creative and utopian forces that had created modernity. The second of these strategies (re-enactment) concerns the resurrection of various documentary and indexical materials such as drawings and photographs, transforming them into short and abstract forms of moving images. Rather than having parodistic intentions, these expressions can be perceived as ritual performances that restore the past. The third element, architectural ruin, entails reflections on how a given culture transforms its standing in a situation when an obsession with utopian failure is characteristic of a current situation. A symptomatic expression of this first strategy is the utopian combination of old-fashionedness and futurism in Tacity Dean's Bubble House (1999), which Magagnoli refers to as a form of "inverted ruin." This building appears as a symbol of the desires of modern societies and their drive to create an imaginary structure based on the play of light and sound, paradoxically accenting the imperishable. Magagnoli discerns the...

A reunião: um diálogo entre a arte e o design para gestão e criação de um produto audiovisual em meio a pandemia de COVID-19 Orlando José Dantas Lopes

This project promotes a dialogue between contemporary art, cinema and design, seeking to develop an audiovisual project using limited resources in the midst of the COVID-19 pandemic. The study starts from a creative process focused on a poetics materialized through masks designed in the form of sculptures and installations that are transmuted into three-dimensional performance elements, composing costumes and scenarios suitable for creative exploration in the scope of photography and audiovisual production. The narratives and aesthetics are designed with light and shadow effects, emptiness and filling, space and non-space concepts. The social isolation caused by the new Coronavirus is personified through sensations and experiences of color, light and darkness, creating a ritualistic atmosphere of transformation of the self, starting from the principles of belief and faith, in addition to a cycle of learning and unveiling in an obscure environment. The methodology used was based on design thinking strategies, interviews with creators and potential consumers, scriptwriting, scale, costume development, photomontages and prototyping of the proposed audiovisual product. Making a creative proposal during the social isolation proved to be a methodological, managerial, financial, technical and mental challenge, in view of the overload of activities for the team members and the difficulties generated by remote work, with decision-making that is often time-consuming and dense. This study is relevant for creators, producers, designers and visual artists interested in producing audiovisual products with a strong creative appeal and at the same time with limited resources, using methodologies focused on remote team work.

Sustainability in the Design of an Itinerant Cultural Exhibition. Study of Two Alternatives

The sustainability improvement of museums and exhibitions is a recent concern for multiple organisations. The application of sustainability criteria is one of the most important strategies of innovation in design activities, products, and service systems. This study analyses the sustainability of two alternatives to an itinerant cultural exhibition service. The exhibition travels to 12 destinations over 3 years and is within a space of 300 m2. In the first alternative, the contents are printed and exposed on a physical medium, and in the second, audiovisual media projects the contents on the walls. Life cycle sustainability assessment is applied to evaluate the impacts in the environmental dimension and the economic and social dimensions. The calculation of indicators, such as the greenhouse gas emissions, total costs, and working time, which are referred to each sustainability dimension, is conducted. A descriptive, comparative study was performed to identify the impact factors with a higher incidence. The results demonstrate that the audiovisual exhibition is more sustainable than the printed exhibition, with a difference of 8.7%, 7%, and 6.6% in GWP100, CE, and TW indicators, respectively.