AVANCA - Livro de Resumos 2011

AVANCA | CINEMA
2011
livro de resumos / abstracts book

edições cine-clube de avanca | 2011
Índice
Cinema - Arte�� 7
“And from here you can see the Hilton Hotel”. Paisajes del Ática en el cine griego de la posguerra��9
A censura ao corpo nos primeiros anos de governo de Marcello Caetano ��9
A heterocronia da escuta na experiência cinematográfica��10
A óptica natural como ilusão de óptica ��10
A performance e o filme: da Fluxus à performance digital ��10
A reinvenção da fronteira de subjectividade�� 11
“A via: passageiros”: texto, imagem e performance teatral �� 11
Arquitetura como teatro e arquitetura do teatro: Muniz, Wenders, Bausch, Libeskind��12
Beowulf at the movies: from anglo-saxon poetry to modern cinema ��12
“But underneath I think we are now in a very exciting melting pot.” The re-invention of mannerist style
and the historicity of cinema in Peter Greenaway’s artwork ��13
Catarsis na arte: a teoria da reacção estética ��13
Cine-counterpoint ��14
De “Q e A” a “Slumdog millionaire”: as aventuras da literatura no cinema ��14
De la construction de l’auteur par la critique de cinéma contemporaine��15
Dizer com a boca o que a página não diz - Os diálogos de “O Princípio da Incerteza”, de Manoel de
Oliveira, em confronto com o romance de Agustina Bessa-Luís��15
Do silêncio à acção ��16
Documentary dialogue or dissemination?��16
Entre esthétique du film et mémoire. Sur quelques stratégies de construction d’une expérience
visuelle du passé : les cas d’Alexander Kluge et de Chris Marker ��17
Ernesto de Sousa: Do Cinema ao Mixed-Media…Com a Fotografia Pelo Meio ��17
Filmar e Contar uma marca: uma análise das técnicas fílmicas como factor determinante para a
transmissão de mensagens publicitárias ��17
Immémorial (1996 - 2011) An immersive memory mechanism ��18
In Transit: revealing history through landscape in contemporary film��18
Information, instruction, re-appropriation: new narratives from existing forms ��19
Inspiração tipográfica no cinema – recordações de um genérico…��19
Interpretación de los personajes femeninos de la literatura en la animación española��20
La reformulación de espacios de contemplación en el cine de José Val del Omar ��20
La vigencia de los pasaportes en el cine latinoamericano ��21
Little Women – A Visão de uma Realizadora ��21
Mack Sennett (1880-1960) The producer puts into the role of creator and visual artist ��21
Monstrare ��22
Música filmada: uma questão de repertório ��22
O anonimato da cidade contemporânea: a visão urbana de Wim Wenders��22
O contributo do cinema no trabalho de alguns artistas plásticos ��23
Cinema de exposição e os pequenos gestos (des)narrativos.��23
O cinema do SPN/SNI – o ideal de Ferro, a realidade de chumbo.��23
O cinema marginal de Hélio Oiticica ��24
O Desejo e seus labirintos: Reflexões acerca do cinema contemporâneo ��24
O primeiro sonoro português; entre o romance e o teatro e o lugar de Júlio Dantas na história do
cinema português: a adaptação de A Severa ��25
AVANCA | CINEMA 2011
2
Os filmes de Terrence Malick: um cinema heideggeriano��25
Palavras & imagens em movimento ��25
Partindo de Vale Abraão Para um estudo da música na obra de Manoel de Oliveira ��26
Perfection��26
Performers under the influence: The Film Sextet ��27
React/Respond: Playing with agency in live multimedia performance ��27
Regímenes discursivos de la imagen en prácticas cinematográficas contemporáneas ��27
Repetição, continuidade e o novo: esboço de um léxico para a expressão de tempo na performance
audiovisual��28
Set, jet, go! Film-induced tourism as a growing trend: the impact of some British adaptations��28
Slapstick comedy and its links to contemporary artistic discourse��29
Sophie: entre cinema, media art e Performance��29
Sound treatment and diegetic spaces in David Lynch’s Eraserhead��29
Sound, mass and movement in the digital realm��30
Superstrings performance particles or strings? universe is a buzz with energy ��30
Surrealism and overreality in audio-visual language��30
The distraction engine ��31
The emergence of narrative: procedural creation of narrative in artificial aesthetic artifacts ��31
The emotive city ��31
The figure of metamorphosis in Japanese animation: when aesthetics, technique and culture meet��32
The infinite expandability of the mental space; darkness, mirror and frame on korean films ��32
The influence of painting in Pasolini’s first movies ��33
Uma Censura depois da extinção da Censura: o caso dos filmes eróticos e pornográficos (1974-76) 33
3D CGI animation and structural/materialist film ��34
Cinema - Cinema �� 35

A Censura no cinema português - estudo de caso: Manuel Guimarães ��37
A encenação no cinema brasileiro contemporâneo ��37
A Place on the edge of town: Peri-Urban spatial imaginaries in 35 shots of rum and an archipelago ��37
A ponte do cinema 3d estereoscópico desde os anos 50 até a actualidade ��38
A relação entre feminismo e cinema em Annette Kuhn: da teoria à necessidade de criação de formas
alternativas de exibição��38
Actors and acting in box office films in Turkey��38
Another Country: the challenges of history, memory and genre in South African cinema ��39
Aprender a pensar através de pequenos filmes��39
As críticas do Jovem Glauber - bahia 1956-1963 ��39
Aspiration, veneration and digital duplicity in the film Avatar��40
Cinema africano – apontamentos��40
Contemporary archetypes of new cinema and tv series in turkey: situating the crime thriller Behzat Ç.
��40
Contributos modernistas à plasticidade sonora do documentário (1930-1940) ��41
Corpo feminino, exploração e submissão em “Baixio das Bestas”��41
Cyberdocumentário: tendências e implicações��41
El dibujo de preproducción. El storyboard y los diseños de planificación en el cine español actual.��42
El proceso de desarrollo del guiónmainstream: factores institucionales��42
Entre o universo visual e o textual: imagens do cinema na obra de Jorge de Sena��42
3
Escritores de filmes: Quem são, o que fazem? Uma investigação dos roteiristas/guionistas brasileiros
��43
Expresión plástica del movimiento a través de la combinación de animación y acción real ��43
Female discourse in Turkey: A research for the first five films according to the 2010 box-office
revenues��44
Game glitches��44
Information society discourse in Turkey: traces of elements the information society in the first five
films according to the 2010 box-office revenues ��44
La influencia de la fábula en el cine de animación. ��45
La nueva era del cine en su diversidad estética, tecnológica y conceptual ��45
Le cinéma grec du vingt-première siècle��45
Le téléviseur dans le film��46
Literatura e Cinema – O museu de Tadzio e a morte de Veneza: Visconti, leitor de Thomas Mann ��46
Male discourse in Turkey A research for the first five films according to the 2010 box-office revenues.
��46
Martial Arts in chinese blockbusters��47
Modos de apropiación y usos sociales del cine Colombia 1958 - 1997��47
Nuevas propuestas audiovisuales en el cine de no ficción: el caso del novo cinema galego��47
O documentário biográfico e sua oferenda de múltiplas identidades ��48
O espaço diegético no Cinema Contemporâneo: novas dinâmicas no processo de produção do
cinema ��48
O insuperável distanciamento das personagens e espaço ficcional na obra de Wong Kar-Wai ��48
O metacinema norte-americano e o storytelling: de Orson Welles a David Lynch��49
O pós-dramático e a desdramatização da cena: teatro e cinema��49
Onde está Lisboa no Cinema Português? ��49
Ônibus 174 e Wilsinho Galiléia: A ressignificação de imagens de arquivo em documentários
brasileiros que problematizam a temática do bandido ��50
Os super-heróis tomam conta de nós: uma idade de ouro da adaptação cinematográfica?��50
Please tell me my own story: story and narration structure at contemporary turkish cinema (new
york’da bes minare, recep ivedik 3, eyvah eyvah, yahsi bati, av mevsimi) ��51
Projetando narrativas: o Design industrial como arte conceitual em filmes contemporâneos ��51
Proto-Cinema and pro-cinema in Israel and Palestine ��52
Quem é ateu e viu milagres como eu - uma abordagem sobre a cinematografia de Nelson Pereira dos
Santos ��52
Role of Public Relations for Film Marketing in Turkey: NewYork’da Beş Minare (Five Minaret In New
York) ��52
Short-circuiting meaning: sound experiments in Manoel de Oliveira’s My Case ��53
The Film’s setting - Notes for a pedagogy of the space/environmental functions of film ��53
The pleasure of translation: subtitles and cinephilia��53
The problem of murderous subjectivity in the film spectator: gaining a critical perspective on the
guilty viewer��54
The Reality Effect in Fantasy´s Motion Picture Worlds ��54
The Straight Story (1999) by David Lynch: a story that is not so straight��54
Transcendendo os limites do corpo: espaços imaterias na configuração do homem digital ��55
Cinema - Comunicação�� 57
A construção do imaginário em deslocamento: um estudo da deslocografia no cinema brasileiro ��59
A linguagem audiovisual no cotidiano da escola ��59
4
A revolução cultural de consumo na produção e distribuição de conteúdo audiovisual ��59
Ana Carolina: o percurso de uma cineasta brasileira ��60
Análisis de la relación entre los medios y la violencia en diferentes contextos desde la Teoría del
Aprendizaje Observacional ��60
Animation and teaching/learning the mother tongue��60
Audiovisual na educação de surdos ��61
Cinema e juventude: o universo juvenil no cinema brasileiro contemporâneo ��61
The Cinema of Enunciation ��62
Cinema, arquitetura e pedagogia��62
Contar histórias com múltiplas tecnologias no contexto educacional ��63
El cine como herramienta de intervención en la violencia de género ��63
El cine y las representaciones de la infancia: una herramienta educativa para abordar la violencia en
las aulas ��63
Emigração, Identidade e Regresso(s) A visão cinematográfica dos percursos e dos territórios��64
Entre o quadro negro e a tela branca: o papel do cinema na aula de história��64
Esclarecimentos pragmáticos para processo comunicativo de legendação de filmes ��64
Espectador activo: comunicação audiovisual institucional num mundo de redes participativas ��65
Identidade corporativa e o videografismo para telejornais ��65
La mujer incompleta: la imagen de la mujer en el ámbito universitario a través del cine Lucia Sell
Trujillo��66
Movíes - mostra de vídeos escolares��66
O cinema como mediador do diálogo no processo criativo de produção audiovisual dentro da escola
��67
O cinema e os jovens: reflexões de uma pesquisa ��67
Product placement within teen movies as a creativity booster��68
Project- arte cinematográfica e psicologia ��68
Publicité et promotion des acteurs: Le cas de la France ��69
Público infanto-juvenil e a leitura de imagens (em movimento) ��69
Reportagem audiovisual - planificação de reportagem para um canal ornitológico��70
The contribution of Melina Mercouri, through her movies and her various accomplishments in the
cultural and political field, in the communicative promotion of Greece in the International field��70
The video clip and the rhythm-image of television��71
Young consumers’ experience and perception of product placement in movies and its implications��71
Cinema - Tecnologia�� 73
A representação de personagens virtuais: como a tecnologia obriga à criação de estilos e estéticas
interdisciplinares na animação contemporânea��75
A study on aesthetic characteristics for cases of space expansion using hologram��76
A Study on Media Façades in Seoul Cityscapes ��76
A vida (complexa) de um tradutor para legendagem. Uma abordagem à legendagem em Portugal��77
Animação livre: uma proposta para uma pipeline e fluxo de trabalho baseados em software livre ��77
Changing Cinematic Spaces��78
Cinema interativo: novas possibilidades de ambientes imersivos��78
El documental inmersivo. una aproximación ��78
EVTux ��79
Instalações Animadas: busca pela potencialização da animação como meio artístico��79
Le costume de cinéma et le passage du noir et blanc à la couleur ��80
5
Narrativa audiovisual para dispositivos móveis num universo transmidiático��80
Os webdocumentários e as novas possibilidades da narrativa documental��80
Plaza multimedial ��81
Produção audiovisual para plataformas digitais interactivas: Os desafios do género documentário��81
(Re)escrever um clássico: legendagem em Pride and Prejudice (2005)��82
Screens of surveillance : surveillance technologies in contemporary cinema ��82
TMJ. Videographic actions for description of a territory ��83
Transmedia storytelling – o caso do Cinema Documental��83
Un bazar de imágenes: software libre/abierto, producción visual y creación colaborativa ��84
Virtual sets, real tools or expensive toys? Notes for an argumentation about virtual set design��84
Convidados �� 85
A Internet como espaço de criação artística ��87
Há festa no cinema: um passaporte obrigatório e a inevitabilidade da arte ��87
Jornal Escolar Digital - Um projecto de comunicação visual na escola��88
Legs Wide Shut: socioanalysis and pornocracy in kubrick’s final film ��88
Light and shadows in holography: a possible dialogue between art and science by using artistic
holography��89
Mobilidade dos povos e imagens em movimento��89
O Cinema Português e o PREC – Recuperando a Memória��89
O Milagre segundo Salomé: duas visões poéticas, uma mesma realidade? ��90
Paper Tiger or Hidden Dragon: A Dramaturgical Analysis of Ang Lee’s “Lust and Caution” (色，戒)��90
Performatividade do corpo pós-humano: de Narciso a Pigmalião ��90
Recent improvements to OpenMoCap and its release to download and to development as free open
source software��91
The urgent need for increased sensitivity to sound ��91
Utilização da maqueta enquanto cenário/espaço arquitectónico na construção de narrativas
desenvolvidas em contexto escolar��91
6
Cinema - Arte
Cinema - Art
Cinéma- Art
Cine - Arte
8
“And from here you can see the Hilton Hotel”. Paisajes del Ática en el cine griego de la
posguerra
Spiros Papadopoulos
Departamento de Arquitectura, Universidad de Thesalia, Greece
Abstract
Cinema, since its birth, constitutes a field for expression and research as regards landscape representation. The
importance of such representations lies in their ability to illustrate most of their landscape’s traces, either scattered
or associated, in a contemporary view and to project the process of its continuous metamorphosis.
This paper aims at researching the transformations of the Attic landscape as they have been presented by Greek
films since the beginning of the 20th century and, especially, after the II Word War. Through the study of those
transformations, it attempts to explore the tools used by cinema to productively configure the relationship between
the countryside and the cityscape, the wilderness and the artificial domestication, as well as the changes of the
social landscape.
Using the case of the Attic landscapes’ representations the study attempts to explore the potentiality of cinematic
compositions to form a conceptual tool for the production of an “extended space”, a space that comprises both of
natural and artificial elements, present and historic time, reality and fiction narratives.
The study develops through the use of notions which are intrinsic to both cinema and architecture, such as dualism,
movement, diffusion, boundaries, scale and light. The results of the analysis aim to contribute to a wider discussion
about the lend-and-borrow relationship of landscape architecture and cinema and how the space produced by the
moving image can be interpreted into a spatial and social palimpsest.
Keywords: Greek cinema, Landscape, Athens, Representations
A censura ao corpo nos primeiros anos de governo de Marcello Caetano

Ana Bela Morais
Faculdade de Letras da Universidade de Lisboa, Portugal
Abstract
Through the study of the censorship mechanisms imposed in Portugal during the first years of Marcello Caetano’
government, mainly in foreign films but also in national ones, we intend to study the censorship commission criteria
in relation to how the body was represented.
Salazar was replaced in the presidency of the government by Marcello Caetano in September of 1968. Since that
moment, many hopped that a larger political opening could lead to a change of regime, in which censorship ceased
to exist. In these first years, more or less from 1969 to 1971, still was possible to believe in this changing perspective
that, soon after, revealed it a deceit.
How was the censorship of the body in these early years? Would it be possible a slightly opening of mentalities or it
remained exactly like it always were? These questions are related with the study of mentalities and history of private
life which will be the approach adopted in our study, which could help to understand the cultural and psychological
context of that time.
Keywords: Body, Censorship, Cinema, Marcelismo, Mentalities

9
A heterocronia da escuta na experiência cinematográfica
Rodrigo Fonseca e Rodrigues
Universidade FUMEC, Brasil
Abstract
Praxis on the marriage between enunciation, image and sounds, even before the advent of the cinema often reaffirms
the usual goal of the soundtrack: to enhance sensorial, mnemonic, emotional and comprehensive processes
concerning the listening face the plastic flow of the narrative. There are many known consolidated technical and
aesthetic paradigms for composers and sound designers in the history of soundtracking. However, creative works
can take over these established procedures, even under its conditions as a different kind of art. Some experiments
in music and sound design in the several examples of the contemporary cinema seems to take us away out of a
trivial experience of listening and invites us to feel differently the time into the cinematographic hole connection. The
soundtrack, more than putting music in the sequence of images, launch the spectator in its affective power, bringing
the paradox over the merely dramatic sense of the narrative. For this reason, this text, based on the concept of
heterochrony and endosmosis (Bergson,1995) discusses, starting from a critical approach of the movie Stalker
(Tarkovsky, 1979), the art of soundtrack from its main commitment: a suspension of our archetypes of listening,
memory and language when it breaks some usual schemes of perception and lead us to a paradoxical reality: the
coexistence of the experience (memories) and free sensations of the becoming.
Keywords: Soundtrack, Listening, Heterochony, Bergson, Stalker
A óptica natural como ilusão de óptica

Bruno Venâncio
LIF, U. Coimbra, Portugal
Abstract
Some historical descriptions of the first film sessions indicate reactions of astonishment, fear, surprise or even
panic among the audience. These would be largely due to the fascination which was a moving image but to these
contributed also both the deep involvement of the viewer, and the allocation to these images of a status of fidelity
to reality, or, finally, a as promising as obscure link between all these factors. But this is a case that can not fail to
be perplexing, considering that such images in its many failures and technical limitations seem to be at an infinite
qualitative distance of the images that each of us usually has of reality – images that apparently capture without
flaw or defect the reality. How can it be that we take one for another or, to put it another way, how can it be and how
can we understand the cognitive confusion that leads, then and today, viewers to establish a relationship of natural
similarity between both images? What could be the fundamental core of our usual point of view so that it finds in
them an identity or parity that takes one for the other? We will try to address and propose a solution to this obscurity
taking as stepping stone some fundamental characteristics of visual perception acquired from a collection and a
further clarification of some clues found in Section 26, “Von den im Wahrnehmungen Allgemeine”, in Helmholtz’s
“Handbuch der psysiologischen Optik”.
Keywords: Optics, Perception, Experience, Hypothesis, Illusion
A performance e o filme: da Fluxus à performance digital

Clara Gomes
Universidade Nova de Lisboa/Universidade de Barcelona
Abstract
An historic contextualization of the relation between performance and technology in an incursion through the ways
in which media – film, video, computer – where integrated in performance through the second half of the 20th
century. From John Cage to Fluxus Films through Nam June Paik, Vito Acconci and Bruce Nauman and into the
new horizons of digital performance.
We are interested in the use of technology not as a mere way to register performance but as an integral element
of the creation process. Often we will make a comparison between these works of art and late 20th century digital
performance works, in a dialectic approach.
Keywords: Digital performance, Video performance, Video art, Media art, Fluxus
10
A reinvenção da fronteira de subjectividade
Luís Miguel Carvalho Meneses
Universidade de Coimbra, Portugal
Abstract
The reinvention of the boundary of subjectivity in the cinema spectator, in the sprout and crossing with other arts,
particularly literature, is the topic of questioning and discussion of communication. Through analysis of writers
such as JG Ballard and filmmakers as David Cronenberg, we will observe the many interpretative possibilities
of exploration, from the human becoming the contemporary period: the human being between the flesh and
technological performativity, the body metamorphosed, the redesign of bodily form and the relationship of our
body with technology, among other possible. The issue forces us to a deeper and more complex reading of these
works than originally thought. We discuss the ideas that explore this theme, creating a new ambiguity reflecting the
subjectivity of the individual. Takes us to the post-millennial reality, “we are all chimeras, theorized and fabricated
hybrids such as machine and body, in short, we are cyborgs “(Haraway: 1990: pp. 149-181). Thus, reconceptualize
the theory of human subjectivity in the light of these variables, placing them at the time of the postmodernist historical
course that dominates the culture in the form of a late capitalism.
The aesthetic that comes from this cinema and literature exemplifies the dominant theories of modeling in the post-
modernist subjectivity: a society that undergoes various crises of anxiety and stress and reunites itself as cyborg,
basing their subjectivities by reformulating the human body by modern technology.
It thus, an image of the growing duality in human with cyborg figure, no one knows who works and who is driven to
act in the relationship between human and machine.
Keywords: Boundaries, Cinema spectator, Cyborg, Subjectivity, Human body
“A via: passageiros”: texto, imagem e performance teatral

Fernanda Nardy Bellicieri
Universidade Presbiteriana Mackenzie, Brasil
Hânia Cecília Pilan
Abstract
The proposed paper aims to present the results of the work “The road: passengers”, a play that in its composition
involved research in a lot of different but complementary areas of communication: literature, cinema, design,
dramaturgy, audio. And above all the process involved a field research about the relation between homeless and
their environment in big cities. Our work in this play(author, actor,designer) was to translate in the form of a live
performance supported by audiovisual, the impressions capturated from the city that holds contrasts: homeless and
busy people, the same human material, but living like distant species. Misery on the streets mixed with fast cars,
well dressed steps, worries, hurry, watches watching time passing by. The city sometimes repulses, while at the
same time magnetizes. Once you’re in, you can’t get out. But trying to understand it can be a relief and expressing
our version of the city is part of citizenship and is also the social function of art and communication. “The road:
passengers” was a anthropological study, a process that was brought to scene in the form of a play, using for that
audiovisual resources and live performance. We aim to present in the Conference a litte demonstration of our result:
one of the ten resulted scenes.
Keywords: Research, Audiovisual, Theater
11
Arquitetura como teatro e arquitetura do teatro: Muniz, Wenders, Bausch, Libeskind
Beatriz Regina Dorfman
Faculdade de Arquitetura e Urbanismo Pontifícia Universidade Católica do Rio Grande do Sul, Brasil
Abstract
Art represents thinking and contemporary values and the cinema has the possibilities and techniques to sintetise
architecture, visuality and personal relationships. This paper analyses two films that expresse special relations
with architecture of the city and a piece of architecture, the project of a theatre. For cinema, the city much more
than a cenary, it is protagonist of the story. The documentary “Lixo extraordinário” (2010), is about the brasilian
contemporary artist Vik Muniz. It shows how art, more than criate culture, can play important role in changing life
and even society. The Wim Wenders’ movie, 2011, is a hommage to Pina Bausch, “Dance, dance, otherwise we
are lost”. A homage to dance and to life, made soon after the choreographer’s death. Alternate stage and sidewalk,
the perspective of architecture, cityskape and landskape. Mention to the analyses of city’s image by Kevin Lynch.
Finaly, this elements will be related to the Grand Canal Theatre, em Dublin, inaugurated in 2010, with project of
Daniel Libeskind. Architecture can be understood as a world conception, as the space of relationship and thought.
The architectonic fact not in the sensible body, but in the relationship between the living espaço and the community
that assume the commitment of building.
Keywords: Art, Architecture, Cinema, Dance, City
Beowulf at the movies: from anglo-saxon poetry to modern cinema

Ana Rita Martins
FLUL / CEAUL, Portugal
Andreia Brito
FLUL, Portugal
Abstract
Hwæt! (Listen!)
The feats of Geatish hero Beowulf in days gone by is well-known to modern audience. His fight with man-eating
Grendel is epic as his battle with the monster’s mother and the terrifying dragon. During the 20th and the 21st
century, the Anglo-Saxon poem Beowulf (by unknown author) has been a source of interest and debate among
academics from different fields. This paper will aim at analyzing the idea of the medieval monster.
As a starting point, concepts of monstrosity will be looked at as well as what features define a monster both in
the Middle Ages and today. Grendel is the main point of interest for this study as it considers how these ideas are
reflected on this character. To do so, “Beowulf at the Movies” also analyzes the description of Grendel both in the
Old English poem and in three selected movies. Are there differences between the character’s portrayal in the poem
and the motion pictures adaptations? To what extent has cinema reinvented monstrosity in Beowulf? How does this
reflect our modern day view of humanity or the beast within?
To answer the preceding questions, this paper will focus on three main movies, Beowulf (1998) by Yuri Kulakov,
Beowulf and Grendel (2005) of Sturla Gunnarsson and Beowulf (2007) by director Robert Zemeckis. These
adaptations are of interest for they shed a new light on Beowulf’s monster Grendel and its hero.
Other relevant works will also be taken in consideration as will cultural and historical factors.
Keywords: Monsters, Middle ages, Movies, Poetry, Heroes.
12
“But underneath I think we are now in a very exciting melting pot.” The re-invention of
mannerist style and the historicity of cinema in Peter Greenaway’s artwork
Micha Braun
Institute for Theatre Studies, Leipzig University, Germany
Abstract
In his cinematic works British filmmaker, painter, curator, and multi-media artist Peter Greenaway proves techniques
of discontinuous narration and playfully tries to retrieve forms of representation and perception that already seemed
to be marginalised in the modern era. Those techniques are argued for covering a potential of examining recent
representations of cultural order and the historicity of the present.
The paper is focussing on two peculiarities in Greenaway’s work that make the historicity of cinema evident: first, his
commitment to a mannerist aesthetic which he disjunctively connects to epistemological questions of the present,
and, second, the examination of the cinema situation itself, which he calls a ‘dying dinosaur’ – a relic of modernity
that needs a revolutionary reconditioning. In giving insights into two major works in which the very special companion
and intermediary figure Tulse Luper makes his appearance Greenaway’s strategies of historicising cinema will be
addressed. This figure is to be characterised as a key element in establishing a space of encyclopaedic history-
telling and discontinuous perception that outreaches the capacities of classic filmic representation.
Keywords: Peter Greenaway, Historicity, Mannerism, Cinematic perception, Tulse luper
Catarsis na arte: a teoria da reacção estética

Solange Lima
Associação Novo Olhar, Portugal
Abstract
“... how art unfolds and how, for its perception, is necessary to observe the true state of things and the deviance
of said things at the same time, and how from this contradictory perception appears the effect of art.” L. Vygotsky
(1896-1934).
Vygotsky draws inspiration from the interlocution and concatenation of the assumptions of idealist writers such as
Humboldt and Potebny, as well as the dialectical-historical materialism of Marx and Engels. Author of countless
scientific postulates, of art he leaves us its analysis in human formation, from where the Theory of Aesthetical
Reaction emerges, Catharsis, this meaning the “complete transmutation of feelings”. Transmitting the idea that art is
linked to the points of view adopted and articulated by the theories of perception, from feeling and imagination, the
joining of these last two concepts is considered the epicenter of the psychological approach to artistic creation, since
“all our emotions not only possess bodily expression, but an expression of the soul as well”.
Artistic feeling is built and kept through imagination, that reinforces it, that makes the expression of feelings and
emotions awakened by infantile “make believe”, by theater of by a work of art, be somehow restrained, “controlled”,
even though they have great intensity. This effect of affective contradiction inherent to the structure of art pieces
provokes opposite feelings, which makes them annihilate each other... a characteristic of any and every artistic
creation and from which Catharsis is born.
Keywords: Art, cinema, Psychology, Catharsis, Aestethical reaction.
13
Cine-counterpoint
Davide Amodio
“Benedetto Marcello” Music Academy of Venice, Italy
Abstract
The purpose of this paper is to discuss how music interacts with film and in particular analyzes the film score in Pier
Paolo Pasolini’s adaptation of Oedipus Rex. Here we don’t discuss the generic relationship between music and film,
which is extremely varied, as are the number of film genres themselves. Rather, primarily we focus on the cases
where the director has achieved a perfect match between the two arts, creating that marvellous alchemy that we call
“cine-counterpoint”. Hence, we identify the points of contact and intersection that enable the two arts to enhance
their expressive potential thanks to their skilful fusion.
Exploring after the ways in which a film score effectively merges with film.
There are some instances in which directors have also been composers, such as Chaplin, Carpenter and Eastwood,
to name but a few. In other cases the director and composer have worked closely together for a long time, such as
Fellini and Rota or else the wonderful combination of Leone and Morricone, involving music in the creative process
from the beginning. Indeed, often the music was composed before making the
film, so as to adapt the acting to the music itself.
What is particularly interesting is the number of directors who skilfully use pre-existing scores, such as Kubrick, a
fine example of “cine-counterpoint” being the final scene of the film Barry Lyndon, or else Pasolini, whose use of film
scores in an evocative way will be analyzed in this paper.
Keywords: Cine-counterpoint, Music, Mozart, Pasolini, Oedipus-Rex
De “Q e A” a “Slumdog millionaire”: as aventuras da literatura no cinema

Claudia M. Braga
UFSJ, Brasil
Abstract
The move from the written piece of work to the screen demands not always obvious interventions. The non-linearity
of the cinematic dramaturgy and the difference in language impose adaptations that eventually make the cinematic
product to be far away from its literary original. The case of “Q and A”, a novel by the Indian Vikas Swarup, named on
the screens “Slumdog millionaire” exceeds, however, the mere cinematic adaptation from the written piece of work.
In both plots, we have a young Indian boy who, in the hard daily learning, finds the answers for a TV game whose
prize is around millions. The similarities between the novel and the film, however, stop here. Therefore, what we
propose to present in our lecture are, mainly, issues about the deep changes inserted by Danny Boyle’s screenwriter
in the filmic version of “Q and A”. Keeping the romance feuilletonistic style, or even picaresque style, as we could
say, beyond the evident needs of the language difference, what makes him change so drastically the life of the main
character in the romance and, consequently, the questions proposed in the program? What reasons pushed Simon
Beaufoy to choose this plot in his adaptation? What process will be used? These are some thoughts that we would
like to propose and discuss in this lecture.
Keywords: Literature, Cinema, Language, Adaptation, Differences
14
De la construction de l’auteur par la critique de cinéma contemporaine
Bruno César Dias de Carmelo
Université Paris III – Sorbonne Nouvelle, France
Abstract
Since the 1950’s, cinephilia and film criticism in France have been highly influenced by the politique des auteurs,
a specific concept of film authorship, based upon not only a recurrence of style and content, but also a recurrence
of “discourse”, directly connected to the filmmaker’s inner talent and therefore always present, unable to be taught,
improved or deteriorated.
But since this contemporary authorship depends on regularity and the development of a homogeneous filmography,
how can talented be spotted from the very first film of a filmmaker? In order to answer to that question, this article
seeks to investigate how Cahiers du Cinéma, the film criticism magazine most directly connected to this politics of
authorship, has dealt with the first films from the auteurs they appreciate the most (and the least). What terms were
employed, what references were used, and above all, how did the first perception of quality evolve with the next films
directed by the same individuals?
By studying the articles written about the films of seven filmmakers usually referred to as “authors”, this article intends
to understand the creation, the manifestation and the implications of such an influential idea on contemporary film
criticism.
Keywords: Film Criticism, Politics of Authorship, Reception, Cognition
Dizer com a boca o que a página não diz - Os diálogos de “O Princípio da Incerteza”, de
Manoel de Oliveira, em confronto com o romance de Agustina Bessa-Luís
Jorge Palinhos
Universidade de Aveiro/Universidade do Minho, Portugal
Abstract
In “Jóia de Família”, Agustina returns to the familiar landscape of Douro Valley, with its traditional families and
intricate social codes. The novel has been adapted by Manoel de Oliveira in “The Uncertainty Principle”. In it it is
staged an elaborate tale of deceit and intrigue. However, more than the events, the writer and the director are more
interested in the moral implications of the characters’ decisions.
In this presentation, I will analyze the way that the book plot and characterization have been converted and conveyed
in the dialogue, and how a medium so dominated by naturalism like cinema has been turned into a canvas where
Oliveira stages a complex chess of relationships and events, dominated by philosophy and metaphysics, and how
an undercurrent of religious thought models the characters and actions.
Keywords: Manoel de Oliveira , Agustina Bessa-Luís, Adaptation, Dialogues, Literature
15
Do silêncio à acção
Claudia Lopes
Universidade de Aveiro, Portugal
Pedro Bessa
Paula Tavares
Instituto Politécnico do Cávado e do Ave, Portugal
Abstract
From silence to action: silence taken as a foundational action that allows creative processes. It is a blankness that
precedes the moment of creation but also stands for a search for perfection, the un-representable, the Sublime. The
‘art moment’ is that what is created from such emptiness, in the vertiginous abyss from nowhere to action.
We will work this complex process of understanding if an action precedes the silence or if the silence precedes the
action.
Analyzing art process, considering its phases, from the tension between either to create or not to create will be
related with the potency refereed by Agamben regarding Bartleby: starting with blankness, with the invisibility of
potency, when communication is urgent.
When “the blues” are called into participation, when the melancholic state installs the potency of the work both to
grow or be doubted, of to do or not to do, how do we read agency? Is silence the action? Should the action rest in
silence?
What to do?
Remain in the state of pure potency or prove the impossibility to create form?
Nowadays, the pensive image counters the logic of the narrative action. On the one hand, the image extends the
action on the other hand suspends any given presumption. The artistic process carries on, in its poetic freedom, a
search without the enslavement of representational forms.
Keywords: Art, Process, Form, Anxiety, Emptiness
Documentary dialogue or dissemination?

Jackie Calderwood
Institute of Creative Technologies, De Montfort University, England
Abstract
With the affordances and interplay of locative and pervasive media, user generated content and participation,
proliferation of smart phones as tools for engagement, authoring and delivery, what new opportunities arise for
artist’s moving image? The question will be considered via case study with presentation of ‘Hunter Gatherer’, a
digital media commission for a new form of interaction - the ‘GeoArtCache’, introduced by Chrysalis Arts. The project
explores contrasted artforms as ‘treasure’ for visitors exploring areas of the North Yorkshire Dales, UK.
As a practice-based researcher, media artist Jackie Calderwood chose to develop a model of GeoArtCache with
moving image as part of the treasure, growing and developing through dynamic interaction of gathering responses
and hunting information. The work is framed as a quest to communicate with and gain glimpses of a magical
creature, whose appearances move with the turning wheels of time, and whose ‘nature’ is dependent on those who
seek to find it.
Hunter Gatherer combines low tech solutions with a custom developed iphone colour-response app, online gallery
and experimental film reward (audio visual animation gathered from walkers at cache sites).
The paper will outline the theoretical framework of the Hunter Gatherer piece, and consider the impact of blurring
the boundaries of artist, editor, audience; subsequent modes and platforms of reception.
Is such a work to be considered as documentary, dialogue, or dissemination? And how might it be understood in
relation to arts practice, social media, user-generated-content, experimental film?
Keywords: Geocaching, Pervasive Media, Geoartcache, Participatory, Artist Film
16
Entre esthétique du film et mémoire. Sur quelques stratégies de construction d’une
expérience visuelle du passé : les cas d’Alexander Kluge et de Chris Marker
Gabriele Biotti
Université de Lille 3, France
Abstract
Aim of this communication is to question cinema and film aesthetics together with historiography, in order to determine
some strategic links in view of a new, complex memorial configuration between vision and image, thinking and
interdisciplinarity. The analysis refers to the works of two filmmakers of modern cinema, Alexander Kluge and Chris
Marker, who have worked at the crossroads between film, aesthetic form, history, following some productive ways
of the essay-film. Questions of cinema meet problems of history writing and some aspects of contemporary thinking
find a new, problematic proposition between art, film style and the new ways of creating memory configurations. The
film form can work for new operations and interpretations.
Keywords: Film Theory, History, Memory, Films Aesthetics, Interpretation
Ernesto de Sousa: Do Cinema ao Mixed-Media…Com a Fotografia Pelo Meio

José António Gomes de Oliveira
Instituto de História da Arte – Faculdade de Ciências Sociais e Humanas da Universidade Nova de
Lisboa, Portugal
Abstract
Ernesto de Sousa (1921-1988) directed a single feature film, Dom Roberto (1962), as sort of a final test for his
cinema learning experience in France and activity in cinema clubs in Portugal in the 50´s, although his multiple
interests and research spirit, led him to became a teacher, art critic, essay writer, photographer, curator, editor, film
and theater director, and multimedia artist.
The purpose of this paper is to shed some light on Ernesto de Sousa´s work as one of the most influential artists
of the portuguese art scene of the 60´s through the 80´s, providing a bridge between modern and post-modern art.
Taking Dom Roberto as a starting point, we will put it into perspective regarding time/context and we will clarify
Ernesto de Sousa’s opinion on the future of Cinema. We will also present a study on a set of medium format
negatives scratched by the artist (unpublished), which were taken during the shooting of Dom Roberto.
Also addressed will be the innovative program of experimental cinema workshop that was held in Porto by the artist
and a few more speakers, and the reasons why his work moved to multimedia installation by the late 60´s.
Finally, after a quick review of his multimedia work, we will take a few moments to address the exhibition Alternativa
Zero, curated by the artist in 1977, that remains a landmark in portuguese art history.
Keywords: Ernesto de Sousa, Cinema, Photography, Dom Roberto, Alternativa Zero.
Filmar e Contar uma marca: uma análise das técnicas fílmicas como factor determinante
para a transmissão de mensagens publicitárias
Maria João Cortesão
DAI / ESMAE – IPP e Universidade Fernando Pessoa, Portugal
Elsa Simões Lucas Freitas
Universidade Fernando Pessoa, Portugal
Abstract
As an advertising strategy, brands often construe a specific image for themselves, so as to be able to effectively
communicate with consumers. In media such as television, it is possible to interweave the strands of meaning
deriving from the different languages at work, which stem from a reading provided by the shooting board – which
exists to tell the story of a brand. From the viewer’s standpoint, the message IS that story being told, which, although
it only takes a few moments in time, becomes memorable mainly due to the way the visual domain has been
designed, by means of sound, plans, angles, absence or presence of light, etc.
It is the purpose of this paper to analyse the ways in which each plan, with its specific characteristics, is able to
achieve a representation, whether symbolic or iconic, of the message conveyed to the public. As a rule, there are
two languages at work (verbal and non-verbal) in order to convey the brand and its respective message. From this
joint effort stem the images and their expressiveness, as a reflection of the meanings intended.
Our corpus of analysis consists of a number of television spots for the mobile phone brand Optimus, which were
selected in order to illustrate the importance and effectiveness of filming techniques when conveying advertising
messages aimed at the strengthening of a brand image or the promotion of a specific product or service.
Keywords: Brands, Advertising, Television, Film, Images
17
Immémorial (1996 - 2011) An immersive memory mechanism
Pascale Weber
CERAP-University of Paris 1, University of Auvergne, France
Abstract
Immémorial is an immersive artistic work. Owing to the technical process of spatialization via eight points and
sound trajectories and the four-sided presentation of the images, Immémorial projects the viewer into the heart of
an environment, which is divided into 26 ambiances based on poignant experiences, in order awaken long-term
memory. The discovery of our senses, our earliest emotions, our frustrations and our desire is treated as evidence
through audio-video case-studies; reconstituting them like a nature study: analyzed, identified, and quantified... a
typology of the shared places of our memory, defining their “natural” or “cultural” characteristics, the extension by
fiction. Immémorial deals with the functioning dynamics of our memory and its anticipatory prolongation through
our imagination and the network of meaning that these functions continuously weave. Conversely, the structure of
the computer language used for distributing the video image and sound spatialization guide the construction of the
narrative and the return of the memorial experience in the device. Immersive experiences pull us out of a reality too
complex to grasp, and evoking the real they invite us to focus on a detail, a micro feature. This is the world narrowed
in the heart of an enclosed space, a metaphor for a major societal issue: Can we finally see the world as a plurality?
Can we think outside of one’s body, from other bodies, from a common body? Can we escape the limits of our
physical body in the body-friendly device, as a network, extended by the machine, become system...
Keywords: Memory, Multimedia, Perception Moods, Semiology, Neurosciences
In Transit: revealing history through landscape in contemporary film

Heidi C Morstang
University of Plymouth, UK
Abstract
The film In Transit investigates an area of Karelia on the Russian/Finnish border close to the Arctic Circle, where,
in 1944, an incident occurred that left a scar on the landscape and the psyche on both sides of the invisible line.
Approximately 120 Norwegian soldiers serving voluntarily in a German SS unit were killed fighting Soviet forces in
Karelia.
The fallen Norwegian men, were left unburied and without identification until 2005, when locals found human remains
in the forest under a thin layer of soil. In Norway, these men were, and are still regarded as political traitors.
The film is an artistic and cinematic investigation, revealing history through the landscape where the battle took
place. The potential repatriation of the remains of Norwegian political traitors is the central focus.
The text discusses several issues that are portrayed in the film and its cinematic language. Although the film deals
with contemporary issues of difficulties regarding repatriation, reconciliation and closure, it also deals with national
identity and shame. It deals with current politics reconciling the many painful aspects of history, such as the potential
homecoming of remains of political traitors. It deals with memory and perhaps more importantly, the forgotten and
`buried’ chapters in history. It is an aspect of painful heritage.
Art has - could have, must have - a unique role in illuminating the dark in such places. Through film, the specifics of
place and landscape are haunting and compelling aspects of the story and its significance
Keywords: Contemporary Film, Landscape, Memory, History
18
Information, instruction, re-appropriation: new narratives from existing forms
Jo Clements
University of Salford, United Kingdom
Abstract
Working predominantly with moving image and installation art, Clements’ current practice and PHD research takes
as its core interest the reconstruction of narratives within archival materials and media taken from instruction and
information journals and films; her fascination is with the design and aesthetic of formal advice from ‘experts’ and
the subsequent representation of an attitude towards the user and audience.
This paper will examine and discuss the following aims and objectives emerging from current research;
•That of the re-appropriation of narrative devices through system based and alga-rhythmic film editing/postproduction
•The production of new creative film content. Specifically - exploring practice as research and utilising practice led
research to address the relationship of pedagogical propagandist narrative in fiction based instructional film.
•To address narrative structures and configurations (film) and to devise models of didactic and interactive educational
process for transfer
•The utilization of multiple creative outputs to explore options and analyse the construction of meaning in narrative
film.
•The development of an understanding of creative methodologies and systems through the process of research
• Exploration of the impact of presentational frameworks and contexts(environment and scenario) on the receipt and
reading of instruction based narrative (film)
• Future work with selected focus groups with an aim to illuminate the range of tensions between pedagogic,
propagandist and aspirational content as content frameworks (film)
•The discussion of case study research using methods developed from creative explorations to analyse pre-existing
forms that exemplify different categories of instructional film
Keywords: Information, Instruction, Installation Art, Narrative, Film Archives
Inspiração tipográfica no cinema – recordações de um genérico…

Júlio da Costa Pinto
Fundação para a Ciência e a Tecnologia, Portugal
Abstract
When we watch a movie, we gain the perception of being faced with a complex combination of choices and decisions
related to an endless array of questions, which, have been taken by a more or less vast team of professionals.
However, within whole to which we refer, the present reflection will encompass and bestow special attention to the
aspects that are so often forsaken but, as we will see, are paramount and must not be neglected.
The initial sequences of films, to which, most of the times, no particular importance is given, represent the genetic code of
a film, that which identifies it. If we resort to our memory, we will be able to define a film, to talk about our expectations and
delusions calling upon the synopsis. What can be done with typography is absolutely amazing, especially when linked to
sounds and images.
In the scope of the present study, we will analyze the evolution of the title’s design and of the initial sequences of
films. We cannot afford to disregard the relevance of the narrative conceived by the relationship existing between
typography and image in movement tuned with music during the several periods of the history of cinema. The
appropriate typographical choice reveals itself as fundamental to a better framing of the film.
The motivation of our approach emerges because we believe that the initial sequence reveals itself as a paramount
graphical object in film presentation and it is getting to have more and more autonomy in connection to the film itself.
Keywords: Initial Sequence, Cinema, Design, Motion graphics, Typography
19
Interpretación de los personajes femeninos de la literatura en la animación española
Eva Mª Mocholí Platero
Universidad Politécnica de Valencia, España
Abstract
The text present the various adaptations that have been created for the female characters of world literature in
Spanish production over the years.
In this way, we have analyzed the treatment of permanent and expressive variants aspects, conceptual and formal
suffered in the image of the female characters in animation leading Spanish.
We have studied the possible female profiles represented in the Spanish animated response to the analysis of the
following: non-verbal communication (pictures), the meanings of verbal communication (word) and iconographic
analysis. That is, all those features are signs of physical, psychological, moral, etc. that characterize tem.
In addition, we have studied the functions and roles developed by the various female characters in the title role in
the Spanish animation not only in the sentimental sphere, but physical and occupational therapy. At the same time,
we have proceed to study the various female characters, according to their aesthetic and artistic expression.
So, we show a wide representation of women through the interpretation of these characters. Characters defined
differently and putting different roles.
On the other hand, we verify the accuracy or loose adaptation of character described in the original literary text.
In conclusion, we discuss the peculiarities that characterize the female characters in animated Spanish production,
we will know the models adapted to Spanish society.
Keywords: Female Character, Animation, Literature, Women, Spain
La reformulación de espacios de contemplación en el cine de José Val del Omar

Sara A. Pedraz Poza
Universidad Autónoma de Madrid, España
Abstract
The aim of this study is to analyze the relations between the soundtrack and the space where the spectator watches
a movie. It is necessary to relate this issue with acoustic spaces and psychoacoustics, and videoarts, in order to
research how these elements interact and redefine the space in which is situated the spectator. The Spanish cinema
director José Val del Omar, invented in the 40s the diaphonic audio system for the cinema and incorporated it to his
movies. Thanks to that invention, his relationship with the movie images changed dramatically. He started to conceive
the screen as one of the places where the movies can be watched but neither the only nor the best one. Hence, he
developed the tactile vision in cinema in order to displaced the images in the same way that the sound had been.
This is because he understood the sound as an element on the same level that images because he considered
that the meaning in film emerges from the relation between images and sound. The theoretical framework is based
on the Walter Ong sound studies and the relationship between the soundtrack and the audiovision, developed
by authors like Michel Chion, Murray Schafer or Dominique Nasta. At the same time, it is necessary to base the
study on the spatial sound and music works of François Bayle and Pierre Schaeffer, from the IRCAM (Institut de
Recherche et Coordination Acoustique / Musique) and Alison Oddey and Barbara Barthelmes theories of spaces as
creation places.
Keywords: Cinema, Sound, Val del Omar, Spaces, Diaphony
20
La vigencia de los pasaportes en el cine latinoamericano
Olga María Rodríguez Bolufé
Universidad Iberoamericana, México
Abstract
Art and cinema in Latin America have shared the affirmation of identities and the renewal of their languages, over
the years. The works of painters such as the Mexican David A. Siqueiros, the Argentine Antonio Berni and the Cuban
Raúl Martínez, the identification of the tropicalistas Brazilians with Glauber Rocha, the plastic autonomy achieved
by the Cuban film poster, or the incorporation of works of art with symbolic intention in films by Tomás Gutiérrez
Alea is an example of the permanence and diversity of these relationships. Currently, the theoretical debate on
the Visual Arts in Latin America, suggests some polarization: on the one hand, there are authors who defend the
alternative of an art conceived from the circumstances and challenges of these countries; while other artists differ
from local references, to join the concert global and technological and passports are depleting its original meaning.
On the other hand, Latin American cinema shows a growing interest in addressing areas of tension (trafficking in
persons, drug trafficking, corruption, violence, intolerance, discrimination, popular religiosity, migrations) without the
aim of setting up nationalistic speeches, but with deep questions and with the consequent renewal of languages.
We will look at examples that reveal the strategies shared by artists Latin American around these concerns ethical
and aesthetic, plastic and filmmakers dialogue in conflict scenarios and which operate as devices of socio-cultural
impact in the collective memory.
Keywords: Latin American Cinema; Visual Arts, Plastic, Filmmakers, Collective Memory
Little Women – A Visão de uma Realizadora

Celeste Maria de Oliveira Costa Correia Simões
Faculdade de Letras da Universidade de Coimbra/Agrupamento de Escolas de Carregal do Sal,
Portugal
Abstract
Reading a novel or going to the cinema are two substantially different things. The first is more time consuming, but it
allows the reader to stop, start again whenever s/he feels like it, go back or forward. The latter permits the spectator
the fruition of great feelings at a vertiginous speed. However, there is not much time to think or analyse the action
and sometimes hidden messages are not so easily perceived. What happens when the film is an adaptation of a
novel? What is the director’s intention with the adaptation? What message does s/he want to convey? Is it obvious
to the audience? Do the spectators have the necessary time to uncover all the messages? My paper will focus on
Gillian Armstrong’s feminist adaptation of Little Women, by Louisa May Alcott, looking for similarities and differences
between the film and literary narratives.
Keywords: Literature, Cinema, Adaptation, Narrative, Feminism
Mack Sennett (1880-1960) The producer puts into the role of creator and visual artist
Ana María Gómez Cremades
University of Seville, Spain
Abstract
Mack Sennett, one of the most important pioneers of the silent era, wrote, performed, produced, directed, as well
as edited and supervised all of his movies. He achieved his career peak between 1915 and 1920. A century later,
we have realized the innovative, creative and artistic value that he achieved through his silent and absurd universe
illustrated by his actors, his gags and the critical and satiric discourse of his movies. We will take into account the
different issues of this crazy universe that transform the origin of motion picture comedy into artistic expression,
and we will analyze them in this paper. He does not direct all his movies, nevertheless as producer, he conceives
“the whole”, and determines the aesthetic and thematic appearance of each film. Everything is monitored by him.
The authentic essence of any creative discourse lies in the sensibility of each artist and, with no doubt, Sennett’s
authenticity was based on satire, contradiction and sarcasm. A visionary who was ahead of his time, he combined
past and present, manipulated his inventiveness far away from “the borders of logic” and boosted the transformation
that, henceforth, the arts would undergo. Mack Sennett, authentic eccentric and outstanding “character” who
causes us to reflect on the established interconnections among cinematographic, dramatic and visual arts. He is
indisputable artist whose particular sense of humor made up a new and specific way of creating, which overcame
the limits regarding the conventional conception of the arts.
Keywords: Sennett, Producer, Filmmaker, Social Satire, Visual Artist
21
Monstrare
Carlos Faustino
CEAA / CIAC, Portugal
Abstract
Monsters, Haunted Houses and hybrid beings, as they appear on horror movies are the targets of my investigative
intentions. This is one problematic that is being created and established as pre-conception since our childhood, from
the moment we see a horror movie, for example. My interest in this topic is to make a reactive approach to this kind
of predetermined concept in our minds and only due to, in this case, a determined kind of building or human being
which is mainly seen in movies that obey to a specific style of construction and design of the house, as well as the
whole environment around it, and a determined characterization of the actors. My investigation on this theme, come
close to the rational exercise created by Fortunio Liceti, about the concept “monstrare”. This concept, in acceptance
with the author, occurs when a subject sees one “monster”, he has the need to “show” (attention to the difference
of words between Portuguese and english – “monstro”(monster) – “mostrar”(show)), ending consequently in the
concept of “monstrare”. The following text explains the appliance of the glitch concept, and how it is applied to the
creation of architectures and monsters.
Keywords: Monsters, Glitch, Cinema, Fragmentation, Repetition.
Música filmada: uma questão de repertório

Suzana Reck Miranda
UFSCar – Universidade Federal de São Carlos, Brasil
Abstract
Throughout this paper, we intend to discuss Michel Chion’s ideas on the act of “filming the music”, while analyzing
passages selected from a Brazilian film, Carlos Reichenbach’s “Dois Córregos” (1999). Chion states that musical
performance in film tends to amplify the functionality of music: at once, it becomes subject and medium. Examples
in which this double function does not hold would be extremely rare. Our aim is to move the inquiries on musical
performance in film beyond the abovementioned double function, pointing out the multiple forms through which it
adheres to filmic narrative. To this end, we will circumscribe the nature of the repertoire performed throughout “Dois
Córregos”, as well as some of its visual aspects which seem to favor an individualized apprehension of its music.
Keywords: Film Music; Film Music Theory, Musical Performance, Brazilian Cinema, Carlos Reichenbach.
O anonimato da cidade contemporânea: a visão urbana de Wim Wenders

Joana Bastos Malheiro
Faculdade de Arquitectura da UTL, Portugal
Carlos Figueiredo
Faculdade de Arquitectura da UTL, Portugal
Abstract
In recent decades the city’s cinematic representations made unequivocally the concept of inhabiting the urban, which
corresponds to the validation of the city as a Place, is characterized by primary elements and by the experience
of space as an extension of his characters, which are diluted in a game of relativities between these spaces that
surround them and their appropriations, among its meanings and significance. In this context, the main morphological
elements - the residential buildings, the monuments, the public spaces and the void - represent an invariant, for they
do not change according to a “type” but to a “function” which tend to remain throughout the entire plot.
Synthesizing the notion that every Place is unique, Wim Wenders establish relations, also unique, among its
characters and cities where they are – as with Damiel (Berlin), Phillip Winter (Lisbon) and Finn (Palermo). Wenders
is to establish areas of ‘no control’, where the live improvisation of each Place allows the uniqueness of each
moment through frameworks that enable the emergence of a third element that accompanies the vision of the City
– the Void – the final component of a triangulation that complete the narrative.
In that sense, we try to understand how the city assumes itself as the third element in these narratives, anchored
by the story of the Place and destabilized by the social relations that contradict them, simultaneously as any pre-
established idea that the viewer may have of the spatial organization of same environment.
Keywords: City , Wim Wenders, Space, Place, Void
22
O contributo do cinema no trabalho de alguns artistas plásticos
Chuva Vasco
ID+, Universidade de Aveiro, Portugal
Abstract
There are many artists who have through the cinema, the raw material for their work. Cindy Sherman, Kendell Geers,
Douglas Gordon, Pierre Huyghe and John Stezaker are just some examples of artists who have used the cinema
as an element to the objectivity of its productions, whether they can be installations or simple still film. What moves
these artists? What is in common between them? The cinema is decoded and is reconsidered its essence, to occupy
a new place in the scene of action phenomenological plastic. It is in this transmutation, some will say pastiche, is
that the concept of art expands, and it is by this way that we find in the cinema new procedures of influence for the
social, political, or cultural demand.
The contact with these works correspond to a revival as it appears in the spectator as an adulteration of a primary
experience, the cinema itself, when one has contacted him. In the deconstruction of filmic simplicity, complexity
corresponds to a new creation, a result of customary idiosyncrasies that fill the artist’s world in particular and the art
in general.
Keywords: Cinema, Still Film, Remake, Plastic Art, Creation
Cinema de exposição e os pequenos gestos (des)narrativos.

Beatriz Furtado
Universidade Federal do Ceará/Sorbonne-Nouvelle- Paris III
Abstract
The boundaries between cinema and other arts has been broken since a few decades. In particular, the filmmakers of
the modern movements’ generation after the war and immediately after, while still producing movies, take their
research for a aesthetic form installed in the galleries. So is being open new spaces for viewing film and therefore
spatializations experiences of moving images and their durations.
JLGodard, Agnes Varda, Chris Marker, Chantal Akerman, Pedro Costa, Apichatpong, Abbas Kiarostami, Hou
Hsiao-Hsien, are some of the filmmakers responsible for extending the limits of cinema and the establishment of
cinematographic dialogue and mingle with other artistic practices contemporary. Within this context of dialogue and
expansion, I consider of great interest for the arts in general, think about what Dubois (2003), called the effect of film
in contemporary art.
The question that mobilizes takes this issue, however, a more precise effect of this film proposed by Dubois. I
propose to analyze the narrative aspect that certain works to bring the exhibition space-installed. Examine how the
work-cinema tradition brings his narrative to the contemporary arts as well as this film is already being done in sharp
contrast to this tradition. This event happens, for example, in the work of Oiticica called non-narrative, consisting of
80 slides , which succeeded in random order. Helio Oiticica took a position since the rejection of traditional narrative
of the privilege on behalf of the intensities.
Keywords: Film Exhibition, Narrative, Contemporary Art, Visual Arts, Cinema-Effect
O cinema do SPN/SNI – o ideal de Ferro, a realidade de chumbo.

Carla Patrícia Silva Ribeiro, portuguesa
Escola Superior de Educação do Instituto Politécnico do Porto, Portugal
Abstract
In Europe, the first half of the twentieth century was characterize by the rise of authoritarian regimes that used
cinema as a propaganda tool for the prosecution and consolidation of political power. Indeed, film conveyed images,
symbols, myths to an extent and strength that no other media had.
In Portugal, the 1930 and 1940’s represent one of the most significant phases, either because of the introduction/
strengthening of the technology of sound cinema, whether by the action of the Secretariado Nacional de Propaganda,
the propaganda instrument of Estado Novo. Among the multitude of ways that this organization resorted to spread
the political message of Estado Novo, cinema in particular aroused the attention of its director, António Ferro, as a
preferred mean of communication with the masses.
This communication seeks to examine the role played by António Ferro in the national film scene. It intends to
determine the nature and direction of his cinematographic vision, i.e., his ethical and aesthetic assumptions, firstly,
and secondly, its political action towards the portuguese film industry, as director of the SPN / SNI, under the tutelage
of Oliveira Salazar.
Keywords: Cinema, Propaganda, António Ferro, Secretariado de Propaganda Nacional, Estado Novo.
23
O cinema marginal de Hélio Oiticica
Tatiane de Oliveira Elias
Staatliche Akademie der
Bildenden Künste Stuttgart, Alemanha
Abstract
In this paper I would like to talk about the films directed by Hélio Oiticica, a Brazilian Avant-garde artist and filmmaker
(1937-1980). His first work with connections between works in film and video, was Tropicália 1964, an installation.
Instead of using a video or a slide projector, Oiticica used the Television set. When visitors went to the Tropicália,
they penetrated into the labyrinth and found at the end of the installation a TV that was always switched on. During
Oiticica’s time in New York (1970-1978), he came into contact with different underground filmmakers such as Jack
Smith, Kenneth Anger and Ira Cohen. He started to experiment with films and he made his first short film Brazil and
Jorge. He was impressed with Andy Warhol’s films: Chelsea Girls, Harlot and Empire State. He met the Warhol
superstar, Mario Montez, and invited him to work on his film Agrippina is Rome-Manhattan in 1972. It was a non-
narrative, soundless, colour film. Oiticica created the works, Cosmococa,Quasi-cinema, which is a mixture of film
and multi-screen installation. He created 9 Quasi-Cinemas with the collaboration of Brazilian director Neville De
Almeida. He worked with different mediums in film, projected image, and multi-screen installation.
Keywords: Underground, Installation,Video Art, Avant-Garde, Brazilian Cinema
O Desejo e seus labirintos: Reflexões acerca do cinema contemporâneo

Henrique Codato
Universidade Federal de Minas Gerais (UFMG), Brasil
Abstract
As Camille Dumoulié (2005) notices, each century presents its own ideal myth. If the “order” was the idealistic myth
of the 17th century, the “happiness” crosses the 18th and the “progress” characterizes the 19th. In this perspective,
Dumoulié infers that among all the myths of our time, the “desire” seems to be the paradigmatic one. As remarked
by Guy Débord (1997), the Society of the Spectacle changes everything into objects of desire and transforms us as
well into hungry and alienated spectators. However, if desire can be explained, according to Wunenburger (1997,
p.35), as “the most important driving force to produce unreal images (…) which are in fact produced to satisfy
our faculty of desiring”, it’s seems to us improbable or even impossible to think about the role of the spectator in
contemporary cinema without interrogating the force and the nature of the film related to the desire of looking.
Therefore, analyze some recent productions considering the articulation between desire and spectatorship becomes
the main challenge of this paper. Apparently some contemporary films would have much to say about the new
“economy of belief” (Mondzain, 2007) men have testified in the present. Elected by the magazine “Cahiers du
Cinéma” as “the best movies of the decade 2000-2010”, the works chosen as object are respectively Mulholland
Drive (Lynch, 2001); Elephant (Van Sant, 2003) and Tropical Malady (Weerasetakhul, 2004). Developing a study
systematized on Psychoanalysis, Philosophy and Anthropology, we intend to investigate what these movies can
reveal about desire in our days.
Keywords: Contemporary Cinema, Desire, Spectatorship, Psychoanalysis, Labyrinth
24
O primeiro sonoro português; entre o romance e o teatro e o lugar de Júlio Dantas na
história do cinema português: a adaptação de A Severa
Valdemar Martins
Instituto Politécnico de Leiria, Portugal
Abstract
During the first 30 years, cinema was the art of imagery, editing, and the contrasts of the pantomime, the theater was
able to combine the immediate image with speech, and the literary novel was trusted with structured and complex
narrative.
From the premiere of The Jazz Singer in 1927, as the result of its acceptance by the public, the silent movies
industry had to change and adapt to the technological advancements.
Being able to listen to a movie projection became a reality, as national productions started to dub films from the
American industry and yearning to produce national talkies.
Portugal was no exception. Leitão de Barros had planned to direct the adaptation of Severa to film, still in the silent
cinema era, but setbacks delayed his project that only got finished thirteen years later.
Culturally, Portugal experienced a period of nationalist revival, and the myth of Severa responded forthright to this
revival, allowing a single composition to combine images and music, from a nationalist background, with a love
story. The work of Júlio Dantas was then made into film. The author had consecrated himself on a cultural level,
both nationally and internationally, and actively participated in the composition of the verses and lines, basing the
first Portuguese talkie on his play and novel. In this study we will try to examine how the novel and drama were
a foundation for the Leitão de Barros’s talkie, and which place holds Júlio Dantas in the history of national and
international cinema.
Keywords: Literature, Theatre, Talkies, Portuguese Cinema, Adaptation
Os filmes de Terrence Malick: um cinema heideggeriano

Susana Viegas
Instituto de Filosofia da Linguagem, Universidade Nova de Lisboa, Portugal
Abstract
When one comments Terrence Malick’s work, one often refers to him as a “Heideggerian director” and to his films
as Heideggerian ones. But, considering that Heidegger himself was not a “movie goer”, what do we mean by that
phrase? Malick started his academic career at Harvard University studying Philosophy with Stanley Cavell; he
translated The Essence of Reasons by Heidegger into English but latter he decided to devote himself entirely to
cinema, directing only four films in thirty years: Badlands (1973), Days of Heaven (1978), The Thin Red Line (1998)
and The New World (2005). Regarding the idea of “what calls for thinking” in Martin Heidegger (and Gilles Deleuze),
I will try to consider his criticism on cinema based on a brief and single analysis of Rashomon (1950) by Akira
Kurosawa. If there is an internal relation between cinematic and aesthetics choices and philosophical approaches,
therefore Malick’s work can express the “poetic visions” of reality in the Heideggerian sense, that is, as an intuitive
and philosophical thought.
Keywords: Cavell, Deleuze, Heidegger, Malick, Philosophy
Palavras & imagens em movimento

Diana Pimentel
Universidade da Madeira, Portugal
Abstract
In 1966, António Aragão transformed words in motion pictures. The poem “On the screen”, recorded on paper (as
if projected on a screen), creates moving images by the graphic oscillation between capital and lowercase letters.
In this duplication is visible - frame by frame –the simultaneous storytelling and transition between two narratives
(one woman on the screen, a man in the projection room). A cinematic poem, this hypertextual artifact allows us to
question how literature works cinematically, and reversibly how cinema can project ‘words-as-images’.
In addition to a new reading of this poem by António Aragão, I intend to observe two examples of literary transposition
to cinema (and documentary): Herberto Helder and Carlos de Oliveira.
I will try to study some texts of these “future poets with camcorders in their hands” (Helder, 1995:148) and to observe
how they were filmed, respectively in “My God - always make me an obscure poet” (about Herberto Helder) and “On
the left side” (about Carlos de Oliveira). Rather than consider these cases as a documentary or cinematographic
adaptations of Carlos Oliveira’s and Herberto Helder’s poetry and prose, I’m interested in study how some of these
poems are inherently visual and cinematic and are constructed using cinematic techniques in their composition.
Keywords: Portuguese Poetry, Film Adaptation, Documentary
25
Partindo de Vale Abraão Para um estudo da música na obra de Manoel de Oliveira
Helena Margarida Lopes da Silva Braga
Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa, Portugal
Abstract
In Manoel de Oliveira´s work the presence of a very particular aesthetics, which also involves the music used,
cannot be ignored. The purpose of this assignment was to explore the link between music and the other vectors
which constitute part of the film Abraham´s Valley. In order to do so, I have consulted several biographies of Oliveira,
critiques and reviews of this specific film, as well as obviously viewing it repeatedly.
While studying the film and the featured musical pieces, I found some recurring motives related to the analogy
between the moon and Ema (I mainly explored this connection, since it is the aspect which is most present), the
script, suggested by direct textual references, the characters’ feelings, and even with the film´s colors.
At the same time, I noticed that the musical interpretations are not always the best and sometimes technical
inaccuracies occur. Does this happen due to lack of attention or is it a matter of aesthetics (whose?)? I believe that
it wasn´t intentional and it is related to bad counselling or even to the plain absence of it.
The study of music in cinema should encourage film makers to be more concerned with their choices. I thus
suggest cooperation with musicologists when choosing the musical works, musicians and interpretations, as well as
consulting in the recording and editing phases. There would thus be an obvious artistic improvement in films, from
which everyone would surely benefit.
Keywords: Manoel de Oliveira, Film Music, Abraham´s Valley, Aesthetics, Musicology
Perfection
Pedro Torrijos León
Escuela Técnica Superior de Arquitectura de Madrid, Spain
Abstract
Analysis of the influence of film music in the perception of the emotional reality of the film narration and the
cohesiveness of it.
To do this, we discriminate between non-diegetic and diegetic music and its use in well knowns movies, as well as
hybrid examples of this application.
-Diegetic: (Dogma 95, Do the Right Thing (excerpts), Casablanca (excerpts))
-Non-diegetic: (Silent movies, modern musicalization: Dracula by Philip Glass)
-Hybrid: (Musical, On connaît la chanson, Magnolia)
Furthermore, it demonstrates the ability of film music, according the classification we have previously done, to
emphasize the validity of the information (narrative or emotional) that provides the film, adding the data provided by
the music, although these are essentially “false”.
Valid information and truthful information are not always concurrent, but independent and often in conflict.
On the analysis of the soundtrack by Clint Mansell for “Black Swan”, which is gently altered, with added layers and
slightly asynchronous, it’s shown that the trick to the viewer, is the basis of the verification of the narrative reality, and
the music is, in this case, great part of this convergence between deception and validity.
Special attention is paid at the difficulty of working on a score that is known worldwide such as “Swan Lake” by
Tchaikovsky and the alteration of this score and its adaptation to the film itself.
Keywords: Music, Cinema, Narrative, Perception, Emotion
26
Performers under the influence: The Film Sextet
Panos Ghikas
Goldsmiths, University of London, UK
Abstract
The main concept behind my composition The Film Sextet (2004) is the use of film as an extra-musical art form
through which to derive ideas on the temporal and sequential manipulation of form and structural perception. The
film editing process is thus seen as a sequencing of events in time, and the layering of visual and temporal activity
as a technique of creating an evolving density of sensory events.
The research behind the Film Sextet shares a similar approach with that of Louis Malle’s practice, in his film
L’ascenseur pour l’echafaux (1957), where he exposed the improviser Miles Davis to an intense ‘constellation’
of moving images, generating a ‘constellation’ of musical material to be redistributed throughout the cinematic
structure. Another source of interest was Jean Cocteau’s Le Sang D’un Poéte (1930) in which he bypasses narrative
convention by the use of dislocated music/sound and disorientates spatial perception by the geometrical ‘flexure’
of set design, camera angle and editing effects. In The Film Sextet the intention is to transfer this concept of
sensory illusion to the sphere of musical performance by devising mechanisms which guide the performers though
a synthesis of traditional, mobile and audio notation, reflexive choice-making and external input/direction.
The Film Sextet expands on the notion of duality by creating three strands of duet interaction. The structure comprises
of a combination of events fixed in time and events generated by a chain of information derived by the unfolding of
film structures in the form of soundtracks played in the performers’ headphones. The element of indeterminacy is
expressed through a complex and unpredictable interfusion of real-time choice-making and extra-musical structures.
The element of duality appears in the subjective interpreting process through the rules of choice-making but is also
manifest in the composed instrumental parts.
Keywords: Music, Structure, Improvisation, Indeterminacy, Duality
React/Respond: Playing with agency in live multimedia performance

Tim Sayer
University College Plymouth St Mark and St John, UK
Abstract
This paper describes the rationale behind the development of a digital performance system which enables a musical
ensemble or solo instrumentalist to interact with a generative and reactive visual score, projected in a cinematic
environment. A partial feedback loop is setup between the performer and a projection of visual media, which allow
the performer to perceive a response to their playing in certain aspects of the projection. The premise underpinning
this piece runs far deeper than merely allowing acoustic instruments to interact with technology; it builds on the
pioneering work of Benjamin Libet (1916 - 2007) and challenges the notion of volition and agency in the way
performers react and respond to visual stimulus. The performances enabled by this system will not only provide an
audience with a stimulating cinematic event but will also provoke the performers to engage in new and unexpected
modes of musical behaviour. A prototype of this system is evaluated as a means of developing psychological and
philosophical themes around the notion of freewill in interactive audio visual performance.
Keywords: Interactive, Soundtrack, Improvisation, Agency, Volition
Regímenes discursivos de la imagen en prácticas cinematográficas contemporáneas

Yissel Arce Padrón, profesora-investigadora.
Universidad Autónoma Metropolitana-Xochimilco, México D.F, México
Abstract
With this paper I aim to discuss the theoretical connections between the analysis of the image´s signifying process
in contemporary cinematographic field and its investigative inquiries in contemporary visual arts. In this sense, the
mutual contributions between these two artistic spheres along the 20Th century are very well known. However, I
would like to situate this reflection in a much more recent theoretical perspective, which is the emergency of the
Visual Studies’ field. Taken its propositions into consideration (interdisciplinary, hybridist methodologists, agency,
power relationships, language, performative dimensions of symbolic practices, cultural and political connections), but
mostly its certainty around the image´s multiple analytical textures, we are going to explore the image´s discursive
regimes and its complex articulations in some relevant contemporary Latin-American films.
Keywords: Visual Studies, Images, Representation/Presentation, Discursive Regimes, Latin-American Films.
27
Repetição, continuidade e o novo: esboço de um léxico para a expressão de tempo na
performance audiovisual
Ana Carvalho
Universidade Fernando Pessoa, Portugal
Patrícia Moran
Universidade de São Paulo/ECA, Brasil
Abstract
The use of repetition in narrative construction (using abstract or formal data) recurring to loops and frames is a
common expressive method in music composition, cinema, video and TV. The focal point of our analysis is the
audiovisual performative practice, and its aim is to investigate the construction of time and how it creates sound and
image intensities in its intimate relationship with space and form, expressed as performative audiovisual experience.
This draft of a lexicon has as central objective to describe continuity and newness in three moments: the development
of practice in related communities, as expression of significance within the performative act and in the process of
preparation of the event. In the performative moment, for example, repetition of scenes and loops take on several
roles in the composition of time, when related between each other in specific moments and with the performance
as a whole.
We will examine the uses of repetition to extrapolate on its role in temporality construction, its affection on space
and how it in-forms content. This examination is a departing point to elaborate on a set of definitions of moment
and to reflect on repetition manifested as, for example, pattern repetition, play of patterns and eternal loop. In these
processes of repetition, cliché is re-signified.
Our analysis will develop from a dialogue between literature, philosophy and cinema studies to problematize on
temporality and moment subjects recurring to an expressive style.
Keywords: Time, Audiovisual, Ephemeral, Repetition, Performance
Set, jet, go! Film-induced tourism as a growing trend: the impact of some British
adaptations
Norma dos Santos Ferreira
Instituto Politécnico de Leiria, Portugal / Universidade do Minho, Portugal
Abstract
Literature and cinema are a growing phenomenon in terms of tourist promotion. More and more, people choose
a specific destination after reading some books or watching certain films. Films, in particular, have the capacity of
transmitting images like virtual brochures which capture our attention and motivate us to visit specific locations.
Many places shown on the screen have become highly attractive tourist sites, so that their popularity helped in the
creation of maps and itineraries which increased not only the cultural tourism, but also the geographic consciousness
of people. This paper will address the recent phenomenon of film-induced tourism or set-jetting (the growing trend of
people visiting places to see locations used in film and TV productions), taking into account the case of some British
adaptations, which were crucial for the promotion of the British identity and fundamental for the consolidation of the
heritage industry. We will also argue that “heritage films”, as they became known, were vital in helping to promote a
certain idea of Englishness, which was very important for the British tourism industry.
Keywords: Film, Heritage, Industry, Literature, Tourism
28
Slapstick comedy and its links to contemporary artistic discourse
Ana María Gómez Cremades
University of Seville, Spain
Abstract
Cinema constitutes an integral part of the perception and meaning of art. This paper focuses on the value of slapstick
comedy, and its connection with the burlesque, critical and absurd language of contemporary artistic expression. We
will analyze both aesthetic and conceptual slapstick factors and their repercussion in the development and evolution
of visual arts. If we talk about comedy in the past, during the yearned for and admired “silent era”, we have to speak
about demystification, gag and social critique. Furthermore, we have to discuss slapstick comedy, a new technique
of composing, an original style that was able to express and narrate stories with an extraordinary creative capacity,
and in a plausibly irrational and absurd manner. Slapstick comedy, praised by Dadaists and Surrealists, was part of
an experimental and avant-garde silent period developed at the same time as European isms, which had appeared
at the beginning of the 20th century. As a result, the slapstick comedy conferred a new meaning to the arts. An
exhaustive exploration of the slapstick universe has demonstrated the value of its own aesthetic, the unquestionable
power of the burlesque, and also, its social and political critical capacity. This farce, true portrait of the permanent
“absurd attitude of the human being”, is also recognized in contemporary art. Thus, we will remark how the discourse
of absurdity in modern artistic expression has reached a powerful, intense and stable link amongst artists, the public,
science and artwork.
Keywords: Slapstick Comedy, Silent Era, Absurdity, Criticism, Contemporary Art
Sophie: entre cinema, media art e Performance

Cesar Baio
PUC-SP, Brasil
Walmeri Ribeiro
Universidade Federal do Ceará- UFC, Brasil
Abstract
This paper presents the project of the interactive installation Sophie, produced by Cesar Baio and Walmeri Ribeiro
and in 2010, from a critical and theoretical approach from the artists themselves about their work.
Sophie was conceived how a “performance-based Installation” that mixes interactive interfaces, video installation
and performance. The piece consists of a character that is capable of interacting with each visitor in a different
manner, according to an algorithm of a mood state simulation. The character’s mood is defined by an identification
level– that is different for each of the visitors who walk through the installation – by the memory of past experiences,
and, specially, by each visitor’s performance towards the piece. Using the recorded performance of an actress,
made with techniques based on action generating stimuli, many short video sequences are created, and they are
edited in real time by an algorithm that has been specially designed for the piece.
The analysis focuses on some tensions established between technology, body and image. The multidisciplinary
approach from the theories of the image (Vilém Flusser) Performance Art (Renato Cohen, Erika Fischer-Lichte) and
actor (Antonin Artaud), will discuss topics such as relationships established between the subject and the technical
device, co-creation, presence and affect, so discussing the system of meaning involved in the work.
Keywords: Media Art, Perfomance , Interactive Installation , Cybernetic Art
Sound treatment and diegetic spaces in David Lynch’s Eraserhead

Emmanuelle BOBÉE
University of Rouen, France
Abstract
By definition, a fiction film depicts an imaginary world inhabited by characters that the spectator feigns to consider
as creatures of flesh and blood. Actually, the spectator is able to access by means of frames and sounds to the
protagonists’ thoughts, dreams and fantasies, unlike what happens in the “real life”. Therefore, how is it possible for
him to distinguish what it real or unreal within the diegetic world ? We will examine the role of the soundtrack in this
process and submit a classification of film sounds (real sounds, subjective sounds, imaginary sounds, etc.) which is
both founded on the location of the sound source and the position of the point of audition. This topic will be illustrated
by a study of the sound treatment in David Lynch’s first full-length movie: Eraserhead, in which are coexisting real
and imaginary diegetic spaces. We will display the relationship between the image and the utilization of music and
sound effects, in order to influence the spectator’s perception and create a subjectivization of the narrative.
Keywords: Soundtrack, Dieg Etic Space, Subjectivization, Lynch, Eraserhead.
29
Sound, mass and movement in the digital realm
Russell Murray
Nottingham Trent University - United Kingdom
Abstract
There is a problematic relationship between digital objects and sound in the intangible and physically impenetrable
realm of virtual space, a world brought into existence through new motion graphics applications. This paper looks
beyond the production of traditional forms of animated narratives such as Toy Story (even though there is parallel
work going on here) to the construction of fractal-based objects, their shape, textures, mass and movement both
independently, and in relationship to each other; objects that bear no or little relationship to those that exist in our
world. Viewed alone, such (time based) objects might be considered little more than exotic screensavers, but when
further defined through sound, they take on ‘life’, and can be used to construct ‘meaning’ through narrative. Chion’s
work plays a vital role, setting down the foundation for a theory of the relationship between objects and their relative
sounds – ‘added value’. How might Chion’s vision be used to evaluate this new area of work? ‘Primal sounds’,
those that can evoke feelings and emotion, might be used as the basis for the discovery and definition of the way
in which this type of ‘previously unknown object’ might be perceived. Equally, the production of audio itself has
moved into a new phase, where now an infinite array of (non-real) sounds can be produced: this too, poses further
questions of definition, and how we perceive objects and the sounds they make beyond the ‘concrete world’.
Keywords: Chion, Sound, Audio, Sonic, Synchresis
Superstrings performance particles or strings? universe is a buzz with energy

Marcella Giulia Lorenzi
LCS-BATS, University of Calabria, Italy
Mauro Francaviglia
LCS, University of Calabria, Italy
Dept. of Mathematics, University of Torino, Italy
Abstract
“Superstring performance” is a complex work, including an initial interactive installation, from which the performance
derives, and a performative part in which performers, generative music and video projections come together.
Superstrings was recently presented at the Museum of Cinema of Torino and shown on RAI National TV. It is
an interactive performance, in which the public actively participates, inspired the Theory of Superstrings. The so-
called “Standard Model” is the currently established theory of Particle Physics. A framework has been proposed
in Theoretical Physics, which tries to replace standard particles with so-called “strings” and “superstrings”. These
are “extended objects” having one dimension, like real tiny elastic ropes which fill infinitesimally small portions of
space. Strings continuously vibrate in SpaceTime generating observable excitations of the physical fields. The
Performance is an exquisite mix of “Art & Science”: “Virtual” strings fill the space, a creative process in which
the public entangles never ending patterns using elastic ropes, creating a vibrating universe. Generative music is
produced, while multicolour lights let strings glow into the dark as laser rays. Performers act within the installation,
using corporal mime and dance, and give a final poetic explanation. The language of emotion suspends disbelief.
A well-known physicist gives explanations about our universe and current scientific theories made understandable
by the installation itself.
Keywords: Interactive Performance, Theory of Strings, Generative Music, Corporal Mime, Museo Nazionale del
Cinema di Torino
Surrealism and overreality in audio-visual language

Escuela Técnica Superior de Arquitectura de Madrid, Spain
Abstract
The main goal of this article is to show the techniques, methods and systems used by different movie makers when
taking on the description-of-the-reality problem, plus the meaning and stamp of the merely audio-visual language on
the perception of that reality and its power to shift it, or at least, to change the viewer comprehension of that reality.
Being it three-dimensional spatial, or four-dimensional time-spatial.
Commentary of eleven works by nine different movie directors is made, classifying them not by era or script
coincidences, but by their purposive, conceptual, methodological or technical similarities, even for the finds or
discoveries they could have in common, studied under the prism of this particular article.
To do so, special attention is paid on the use of the purely cinematographic language elements, like pre-production,
film editing and post-production by the different artists.
Keywords: Overreality, Surrealism, Cinema, Time-space, Perception.

30
The distraction engine
Tom Dale
Anglia Ruskin University, Cambridge, United Kingdom
Abstract
Distraction or to be distracted, in terms of art, architecture and cinema has been written about almost exclusively in
terms of optical and visual bombardment, reducing the role of the viewer to that of static witness.
The glossary and discourse around these notions was born out of the impact of early cinema and the industrialized
city, most notably by Kracauer and Benjamin. Whilst the idea of distraction as a form of surplus or cultural over
production is useful, it fails to understand the blurring of relations between subject and object, viewer and screen.
This paper will argue that Foucault’s panopticon and the power to internalize the gaze of the Other, in conjunction with
Levinas’s understanding of insomnia in ‘Time and the Other’ provides us with a clearer model of distraction’s ability
to empty or flatten our sense of time, space or identity. It is from within this distracted space without dimensions,
state without image, that the self can be heard to ask ‘Who am I and what do I want’.
But this is not an Other of ‘them’, rather of ‘it’. Distraction is our encounter with an informational Other born out of the
multiple platforms and information streams that technology and the virtual produce within our habitus.
This paper sets out the terms and conditions for understanding distraction as the origin and engine of what Deleuze
would call ‘Becoming’. It highlights the pleasure or Jouissance that information takes in itself and against which we
must define our sense of self.
Keywords: Distraction, Ekphrasis, Foucault, Deleuze, Levinas
The emergence of narrative: procedural creation of narrative in artificial aesthetic

artifacts
Miguel carvalhais
ID+, Faculdade de Belas Artes, Universidade do Porto, Portugal
Abstract
Computational systems, as simulators or as creators of new media and messages, are gradually taking over and
transforming the operational spaces of many arts. Their outputs are inherently multimodal, not only relying on image,
movement, sound or haptic stimuli, but also on the perception of logical and mathematical structures and processes,
a modality that is dependent on the previous four but that is intellectual, rather than sensorial. When we are faced
with an artificial aesthetic artifact, we watch it perform as we simultaneously perform it, we probe its structure
and draw the connections needed to participate and to comprehend the complexity we witness; we simulate its
processes — to the extent that we are able to understand them — and create our own parallel sequences of events
as the artifact unfolds. As with any other aesthetic constituent of these systems, narrative and drama may either be
hard-coded — much as they are in traditional or non-procedural media — or they can emerge from the programmed
processes and algorithms. This paper proposes an approach to how the creation of narrative can be understood
in the context of performative or interactive generative systems, in what may be their greatest contribution to the
creation of a new cinema.
Keywords: Computational Media, Generative Art, Cinema, Narrative
The emotive city

John Rooney
The University of Salford, United Kingdom
Abstract
The research project is designed to create new ways of looking at the story of a city; the focus is to present elements
of the city as an art gallery space. Mapping technologies are used to present information as an aesthetic image. This
project will add the emotional context of the moment and location as part of the information aesthetic. The story of
a city is an ongoing timeline of interconnected exchanges, thoughts and ideas. The stories and ideas used in this
project can be taken from any point in the timeline and presented together as information aesthetics.
Datum will be recorded via image motion capture and audio technologies to create image and soundscapes. made
from the shape of letterforms. When the audio file is read back into a sonogram the sound wave created is in the
shape of the letterform. Further research will look at creating typefaces based on the sound the letterform makes
instead of any visual aesthetic.
Content will be presented in various ways, using digital and traditional formats. The artwork can be displayed in situ
via web based geo tagging and augmented reality platforms on mobile devices, plus physical representations of this
work as printed and sculptural forms.
Keywords: Public Art, Graphic Design, Typography, Digital Art, Art Gallery
31
The figure of metamorphosis in Japanese animation: when aesthetics, technique and
culture meet
Yael Ben Nun
Université Paris VIII – Vincennes – Saint-Denis, France
Abstract
The figure of metamorphosis is the essence of animation, a conception expressed by the term of Plasmaticity
developed by the Russian film theoretician Sergei M. Eisenstein. Metamorphosis is present in animation both
conceptually - within the process of creation of an animated feature, and visually - as a dominant figure and subject
of animated films. While its conceptual presence can be found in any animated film through the transformation of the
lines from one image to the other, its presence as a subject is relatively punctual within the major animated features
by the main American and European studios. In Japan, this figure plays a particularly important role in animation
within all genres and graphic styles.
One explanation can be found in the cultural aspects and the artistic traditions in Japan, where metamorphosis
is already strongly present. Through the use of this figure, Japanese animation reflects on the Japanese society,
questioning individual and national identity and modern life but also expresses the dreams of its individuals.
Through the three types of metamorphosis that characterize Japanese animation: instability of the form, instability
of identity and the metamorphosis from form to substance, we’ll see how the cultural heritage and the techniques
of animation bind through the figure of metamorphosis, contributing together to the unique aesthetic of Japanese
animation.
Keywords: Metamorphosis, Animation, Aesthetics, Japan, Plasmaticity
The infinite expandability of the mental space; darkness, mirror and frame on korean
films
Somi Nah, Hongik University, Seoul, Korea
Timothy Yoonsuk Lee, Hongik University, Seoul, Korea
Abstract
We often experience the recollection of a vague memory when waking up from sleep or try to express consciously
an unconscious world like an object barely visible on the surface from deep water. Moreover, when we cross over
from the world of the unconscious to the world of consciousness, we have various experiences in the gap between
the two worlds. We have always been missing the unknown world that exists only in consciousness.
Representative materials used often to show the infinite expandability of the mental space are darkness, mirror and
frame. Because a dark space is invisible, people imagine that there must be something unusual in the space. A
mirror stimulates our curiosity as a space that does not allow my entrance but at the same time reflects me as well
as the real world. A frame, confining another world within a still image, expresses our yearning for the world existing
inside the frame.
In these materials darkness, mirror and frame, we demand such an expansion of space unconsciously.
This study attempted to analyze people’s desire for the world of the unconscious and the expandability of space
through darkness, mirror and frame, which are materials observed in Korean films, on the mythological dimension
and in connection to the world of the human unconscious.
Based on the psychoanalysis of Jacques Marie Emile Lacan and Sigmund Freud who theorized unconscious desires,
this study analyzes the concepts of the imaginary world, the symbolic world and the real world, and connections
among them, and substitutes each of materials darkness, mirror and frame in Lacan’s theory and examine its
association with the unconscious. Furthermore, we analyze the relation between spaces meant by each of the
materials (darkness, mirror, and frame) observed in Korean films and visual perception, and draw conclusions by
associating the significance of the expandability of space with the human unconscious.
Keywords: Psychoanalysis, Darkness, Mirror, Frame, Korean Film
32
The influence of painting in Pasolini’s first movies
Martina Medolago
Institut für Europäische Kunstgeschichte, Universtität Heidelberg, Germany
Stefania Girometti
Institut für Europäische Kunstgeschichte, Universtität Heidelberg, Germany
Abstract
Quando giro un film, mi immergo in uno stato di fascinazione
davanti a un oggetto, una cosa, un viso, gli sguardi, un paesaggio,
come se si trattasse di un congegno in cui stesse per esplodere il sacro.
Pier Paolo Pasolini
Especially in his work as a film director, Pier Paolo Pasolini was strongly influenced by figurative Art. The passage
to the Cinema was determined by his vivid memories of Roberto Longhi’s Art History lessons, which he followed
during his studies at the Bologna University and by his relationship with the Fine Art, which he felt as something vital
and natural.
The Cinema originated in the passage from Art to life and back again: a waiter carrying a fruit basket reminded
Pasolini of an image by Caravaggio and he repeated this scene on the screen basing it on Longhi’s description of
Caravaggio’s “Bacchus”, for example.
The language of his images was filtered through the study of the history of Art. Numerous quotations and references
have been traced in his works for the Cinema, especially in his first three movies (Accattone, 1961; Mamma Roma,
1962; La Ricotta, episode in the movie “Ro.Go.Pa.G.”, 1963). The influence of painting is present in his style, as
Pasolini himself pointed out when he claimed Masaccio and Caravaggio as the models for the black and white of
his first two movies – Longhi, like all Art historians, used black and white slides to rend the tonal relationships and
volumetric proportions of the works he analyzed in his classes.
Through our paper we will introduce the figure of Pier Paolo Pasolini as a film director and we will explain in the
influences of paintings and Art History in his movies.
Keywords: Pier Paolo Pasolini as a Film Director, Painting, Influences on Movies, Connection Visual Arts and
Films, Image’s Language.
Uma Censura depois da extinção da Censura: o caso dos filmes eróticos e

pornográficos (1974-76)
Paulo Cunha
CEIS20, Universidade de Coimbra, Portugal
Abstract
In April 1974, after the overthrow of the fascist regime, an early policy measures of the Armed Forces Movement was
the “abolition of censorship and prior examination” as a necessary measure to guarantee freedom of thought and
expression. In the following days, the office of Information and Tourism, recognizing the need “to safeguard military
secrets and to avoid disruptions in public opinion”, proposed the establishment of an ad hoc committee to control
the press, radio, television, theater and cinema and, in the specific case of cinema, the definition of a provisional
system of age classification for films.
Among the films whose viewing was prohibited for those under 18 include the erotic and pornographic films, outright
banned in Portugal until 1974. This ban resulted, in the general and specialized press, one of the most contentious
debates about cinema in Portuguese society in the process of democratization. When films like Last Tango in
Paris (Bernardo Bertolucci, 1972), Clockwork Orange (Stanley Kubrick, 1971), Emmanuelle (Just Jaeckin, 1974) or
Behind the green door (James Mitchell and Artie Mitchell, 1972) debuted in Portuguese theaters, there was a public
debate about the content display “erotic” or “pornographic” in films.
The aim of this paper is to analyze the key moments of public debate on the issue of censorship after the abolition
of fascist censorship, giving attention to the reception of films with suspected content “erotic” or “pornographic”
between the end of dictatorship and the end of the designated ongoing revolutionary process.
Keywords: Censorship, Pornographic, Erotic, Ongoing Revolutionary Process, age Classification,
33
3D CGI animation and structural/materialist film
Alex Jukes
Edge Hill University, UK
Abstract
How work developed by Structural/Materialist filmmakers and artists in the 1970s might provide a framework for
exploring new methods and processes for working with 3D computer generated animation.
20th Century artists, avant-garde/experimental filmmakers, animators and image-makers, across every decade,
have sought to challenge the dominant aesthetic of contemporary cinema and confront the ideological and political
associations embodied in representational film/video. This presentation seeks to continue this polemic within the
context of the digital, specifically 3D computer generated animation, and builds upon the theoretical and practical
discourse relating to medium, material, expression and technology developed by artists and filmmakers working in
the 1970s and 1980s.
This research work aims to challenge and debate the dominant, largely commercial, aesthetic relating to the
field of 3D computer generated (CG) animation and seeks to develop alternative approaches to the creation and
presentation of 3D CG animation.
This research draws upon the work of Malcolm Le Grice and Peter Gidal whose practical and theoretical discourse
(Structural/Materialist writings) acts as a critique of contemporary commercial cinema its language and visual
expression. Similarly material concerns in the 1980s and early 1990s by artists and filmmakers (Peter Donebaur,
David Critchley or Nam June Paik) working with video, help to lay claims that the illusion of the image is only one
part of creative potential of moving image production. These ideas bring to the debate the suggestion that every
manifestation or mutation of the ‘film’, in its collective sense, has its own virtues, idiosyncrasies and possibilities as
a medium for artistic expression, including the digital.
Keywords: CGI, Animation, Structural/Materialist, Aesthetic
34
Cinema - Cinema
Cinema - Cinema
Cinéma - Cinéma
Cine - Cine
36
A Censura no cinema português - estudo de caso: Manuel Guimarães
Leonor Areal
CIMJ – Centro de Estudos media e Jornalismo, FCSH-UNL, Portugal
Abstract
Censorship of neo-realist Portuguese movies
During the period of Estado Novo, the dictatorship ruled by Salazar, every film had to undergo the Censorship
Committee’s avail. They would approve, cut or forbid its screening. Censorship towards Portuguese films was
even harder than to foreign films. Many directors were censored, but the most sacrificed was Manuel Guimarães,
Portugal’s only neo-realist filmmaker.
The Censorship Committee cut every small detail and applied strict and random moral criteria: without any written
definition in the law, then subjected to changes, adaptations and reinterpretations, depending on subjective judgment.
This menace would reinforce the fear of being censored and confined our cinema to remain less than mediocre, as
Luís de Pina said: «it created the fear of approaching issues more than in a superficial, documental and conventional
way».
To fully understand the Committee’s scope and criteria, we currently study the minutes where their members discuss
and write down their arguments. But it’s not sufficient, as many cuts were ordered informally and no remains subsist
of the cut film. Thus we have to compare the script with the film itself, in order to understand what was actually
forbidden. I will present the case study of Manuel Guimarães’ 3 censored films: Nazaré (1952), Vidas sem Rumo
(1956) and O Trigo e o Joio (1965).
Keywords: Censorship, Portuguese Cinema, Neo-Realism, Manuel Guimarães
A encenação no cinema brasileiro contemporâneo

Roberto Ribeiro Miranda Cotta
Universidade Federal de Minas Gerais, Brasil
Abstract
The issue of staging has gained new contours, especially the recent attention directed to the topic by researchers
such as Aumont (2006) and Bordwell (2008). In addition, a transformation in cinema has been consolidated over
the world from the proliferation of sensory narratives , anchored in flows of a timeless and disjunctions in the space
of performance. Filmmakers like Weerasethakul, Kar-Wai, Akerman, Costa, Hsiao-Hsien, Denis and Zhang-Ke
contribute to the conjunction of works that travels between these pathways and give impetus the cinematic staging. In
Brazilian cinema, dialogue with the filmmakers cited has been intense, so that in recent years the emergence of young
filmmakers has ignited the audiovisual landscape in the county, strengthening the ways of staging and storytelling.
Therefore, this paper aims to examine ways of staging adopted by contemporary Brazilian cinema, in order to
unravel their stylistic choices and their modes of narration. Thus, the research concludes that the various films made
recent years in Brazil have singular characteristics that serve to rethinking the staging. The methodology adopted
follows a qualitative way using theories of Film Studies and interpretation tools of Film Analysis.
Keywords: Cinema, Brazil, Staging, Narrative, Mise-en-scène.
A Place on the edge of town: Peri-Urban spatial imaginaries in 35 shots of rum and an
archipelago
Joe Bender
Harvard University, USA
Abstract
The suburban space of 35 Rhums (Claire Denis, 2009) is neither picture-postcard Paris nor the tense cité of many
films set in the banlieue parisienne. Riding the rails and highways of the Parisian transportation network, 35 Rhums
cultivates strong ties with the city and surrounding suburban areas. At the same time, it retreats into the private
sphere of the apartment building at the film’s center of gravity. This paradoxical distribution maps an affective
and sensorial landscape in which the project of community must find its place. In a similar vein, the recent film Un
Archipel (Till Roeskens and Marie Bouts, 2010) invites us to traverse Seine-Saint-Denis, shadowing the steps of its
residents as they sing and chant its sidewalks and hidden passages. Through their eyes and voices we discover
a new territory, recomposed as an archipelago of sensation and memory. Do these works engage representations
of the banlieue, or do they focus on personal relationships and experience at the expense of a commentary on
suburban life? This paper examines the procedures by which 35 Rhums and Pistes locate an ambiguous banlieue
space, through which they may propose a mode of habitation that realizes a particular set of possibilities for life in
the banlieue.
Keywords: Cities on Film, Urban Space and Society, Banlieue Cinema, Everyday Life, Affective Geographies
37
A ponte do cinema 3d estereoscópico desde os anos 50 até a actualidade
Vânia Ferreira
Abstract
The representation of three-dimensional space was perhaps the most important contribution to Renaissance art
(Gody, 2009). This technique could be seen initially in photography and then with the advent of television in the mid
50s, the cinema was in decline and had to reinvent itself, so the 3D cinema appeared to attract the public again.
New techniques like CinemaScope and colorful movies appear to help the raising of the cinema. This article will
present a research targeted to the viewer’s 3D cinema today, understand more precisely the kind of feeling that the
viewer gets faced with what is to be observed, and whether or not the feeling of immersion in particular act which
is the visualization of a filme3D in cinema. To understand the opinion of the viewer, will precede the distribution of
questionnaires in order to have access to chronological data (age) and also to a profile (reaction, interaction, control,
satisfaction) of the consumer / viewer.
Keywords: Cinema 3D, Stereoscopic Vision, Viewer, Immersion.
A relação entre feminismo e cinema em Annette Kuhn: da teoria à necessidade de

criação de formas alternativas de exibição
Ana Catarina Pereira
Universidade da Beira Interior, Covilhã, Portugal
Abstract
To Annette Kuhn, professor at Lancaster University and researcher in film studies, the interest and involvement in
feminist film theories began in 1974 - the year she was invited to attend a women’s film festival in Nottingham. At
this point, she argues that what most impressed her then was the fact that those are not just movies about women
(vulgar women, workers, housewives, mothers), but also by women. Thus, she had realized that, until that moment,
all the pleasure she had taken from viewing films had greatly depended on her identification with male characters: “I
had, that is, been putting myself in the place of the man, the hero, in order to enjoy – perhaps even to understand –
films.” (Kuhn, 1982: ix). The attitude required therefore a negation of herself as a spectator, a woman and a feminist.
This is the starting point for the defense of a cinematic proposal: the creation of a female film festival in Portugal,
exclusively dedicated to the exhibition of works by women filmmakers. Investing in training of public - properly aware
to some of the theoretical issues of feminism in cinema - should be a central objective in its constitution.
Keywords: Realizadora, Espectadora, Olhar, Estereótipo, Festival
Actors and acting in box office films in Turkey

Ufuk Küçükcan
Anadolu University,Turkey
Abstract
Jiri Weiss mentioned that people in the cinema, on the screen, are not heroes from a novel, nor actors on the stage.
They are merely dreams- shadows (Sherman, 1976). Though this mention is right it is almost not true. Especially
actors are still one of the determinative features for movies. In recently years in most of leading box office films
in Turkey are mentioned not only about story but also actors. The common interesting point of box office films is
selection of the actors for the leading roles. Many of them are tv stars, professional singers or stand-up men. They
are not real actor. In the Box Office Mojo in 2010 most success five films are not Hollywood or European productions.
They are all Turkish films. Turkey is just only a country whose first five box office lineups are only consist of Turkish
Films in 2010 as three of five in 2009, all of five in 2008, four of five in 2007. Five Minarets in New York, Recep Ivedik
3, Eyvah Eyvah, Yahsi Batı and Av Mevsimi are the most successful films in 2010 Box Office Turkey. As leading
role of Five Minarets in New York is singer, at Recep Ivedik 3, Eyvah Eyvah, Yahsi Batı and Av Mevsimi they are all
stand-up man and comic characters of TV. This work examines the relations between the actor selection and box
office success of those five films.
Keywords: Box Office Films, Turkey, Actors, Acting
38
Another Country: the challenges of history, memory and genre in South African cinema
Chris Willem Broodryk
University of Pretoria, South Africa
Abstract
Across various socio-political contexts, film has often presented a language that could interrogate notions of memory,
be it memory as fluid construct (“Eternal Sunshine of the Spotless Mind”), traumatic revision (“Antichrist”) or as plot
mechanism (“Memento”). In perpetually interrogating notions of identity and nation, South African cinema seems to
deal with memory in a particular way that suggests not a critical engagement with these concepts or with the film
medium, but rather a safe, benign confirmation of assumed values and ideas that pertain to identity and nation. This
paper aims to explore and problematise recent South African attempts to critically (or not) cinematically engage with
its past, and the consequent failure to construct a cinematic visual language that interrogates South African notions
of history and memory. In particular, the study focuses on the use of certain genre models to locate South African
cinema as a site of mediated memory construction where the socio-political potential of notions of memory is nearly
rendered impotent by an insistence on genre conformity. With reference to the above mentioned films as well as
Ralph Ziman’s “Jerusalema” (2008) and Jann Turner’s “White Wedding” (2009), I will inform my discussion with
key ideas from Deleuze, Cavell and Bordwell to theoretically frame how South African cinema struggles not only to
address its history but also to construct cinematic notions of memory based thereon.
Keywords: Memory, History, Genre, Nation, Cavell
Aprender a pensar através de pequenos filmes

Andreia Silva
ISVOUGA – Instituto Superior de Entre Douro e Vouga, Portugal
Abstract
Film clips as a learning methodology is being used as a pilot study in a course of higher education. The mission is
to encourage learning through scenarios that illustrate and at the same time stimulate students to the debate and
acquisition of important skills such as cognitive skills and critical thinking. The present paper is a kind of field note
of a study that is being held in a polytechnic institute in Portugal. Six basic aspects of learning are being explored:
motivation, research, writing, orality, conscience and self-esteem. If a student, or a teacher, doesn’t research or
is incapable of articulating verbal, written or oral statements, s/he will no longer reach one of the main goals of
this journey: to take what have learned and pass it to someone. Above all it is intended to debate the dialogical
relation between teacher-student using films to promote learners’ self-conscious and self-awareness for critical and
creative thinking through a method where the memory is exercised and improved. The goal is to increase the ability
of students to build their own knowledge and to enjoy learning. This study shows that the capability to analyze,
interpret, explain and evaluate is better achieved by using images from film clips.
Keywords: Methodology, Critical Thinking, Memory, Knowledge, Short Films
As críticas do Jovem Glauber - bahia 1956-1963

José Umbelino de S. P. Brasil
Universidade Federal da Bahia/Brasil
Abstract
YOUNG GLAUBER’S MOVIES CRITICS – Bahia1956-1963- exposes the face less known of Glauber Rocha, that
of movie critic. The purpose of this work is to interact with the conceptual expression of the glauberian thought,
searching to understand how the author constructed his theoretical background in movie. On this way, the thesis
examines and analyzes part of the critical dedicated to the American and Brazilian movie, verifying as its contents
had served in the formulation for invention of the New Movie movement, as well as had enforced the endogenous
politics of author and had been transformed into process of creation of a particular poetic.
Keywords: Glauber Rocha, Movie Critic, New Movie, Politics of Author, Brazilian Movie
39
Aspiration, veneration and digital duplicity in the film Avatar
Julian King
IADT, Ireland
Abstract
James Cameron’s recently released film avatar was reputedly the most expensive film ever made and certainly
stands as an ground breaking piece of digital filmmaking. Around the globe huge numbers of people went to immerse
themselves in this sensational three-dimensional spectacle. Many of the people who viewed this movie reportedly
stated that they yearned to live in this computer generated world finding its beguiling beauty more attractive than the
grubby reality of the actual world.
On the surface this film is a simple moral tale of the triumph of the noble savage over the forces of greed and
materialism. However the tropic thread that binds this tale together is that of duplicity, transformation and resurrection.
The story revolves around examples of masked identity, personal duplicity, and betrayal Indeed it is the very
duplicitous, glamorous and beguiling digitally rendered world that most eloquently speaks of falsehood. Is this super
abundant overly sensory creation just a modern iteration of Shakespearian gender exchange utilising expensive
technology in place of greasepaint? Or is it that as we approach ever closer to a digital nirvana through audiovisual
technology that this eternal yearning to be somewhere else will finally be satiated?
Keywords: Film Studies, Digital Creation, Cinema
Cinema africano – apontamentos

Miriam Estela Nogueira Tavares
CIAC, Universidade do Algarve, Portugal
Abstract
Thousands of films are produced in Africa every year. Understandably, every year there are many film festivals
in the continent, of which an important one is certainly Ouagadougou’s Pan-African Festival of Film and TV, held
since 1969. Nigeria alone has produced about one thousand films a year since the 1990s, and others are made all
over the continent, from Algeria to Zimbabwe, not to mention the extraordinary film industry in Morocco, where the
Marrakech Film Festival is one of the most prominent in the present outside the borders of the American-European
circuit. Film in Africa implies thinking of an incessant demand for means of producing them – films are almost always
made and distributed in VHS or DVD, which does not hinder the creation of a very particular language stemming
from those very conditions of production. In the case of Portuguese-speaking countries in Africa, some have a
stronger film production than others. This is the problem of films produced in Africa: visibility. Although there is
some distribution and circulation among the festivals, little is known of the diversified and creative cinema produced
in the last decades. Films from Africa made by Africans offer restorative images and a new film language. It is
our understanding that we have to see and to study films as they are made by Africans if we want to understand
the construction of African imagery without going into the stereotypes that usually arise around a complex and
diversified continent.
Keywords: Cinema, Africa, Contemporaneity, Representation, Visibility
Contemporary archetypes of new cinema and tv series in turkey: situating the crime
thriller Behzat Ç.
Özge Özdüzen
Istanbul Bilgi University, Turkey
Abstract
In this paper, the main aim is to make sense of contemporary crime thriller Behzat Ç. through the lens of the
candidates of contemporary archetypes of New Turkish Cinema and TV series. In doing it, I attempt to define five
main contemporary archetypes; three of them male archetypes, two of them female archetypes. These archetypes
are the desolate men, substitute fathers, street kids, evil women and silenced women. The mass appeal of the
contemporary TV series Behzat Ç. lies in its being a culmination of these widely known and appreciated archetypes.
This is not to differentiate Behzat Ç. from the rest of the films and TV series, but it is to remark its singularity and also
to analyze where these films and TV series “touch” each other.
Keywords: Archetypes, New Turkish cinema, Tv Series, Social Change.
40
Contributos modernistas à plasticidade sonora do documentário (1930-1940)
José Alberto Pinto
Faculdade de Belas-Artes da Universidade do Porto, Portugal
Abstract
The experimental attitude proclaimed by modernist avant-garde was present, not only in fine arts practices held
by futurists, dadaists, surrealists or constructivists artists, but also in the way they have made artistic use of the
new technical possibilities introduced by phonographic or cinematographic equipments. A new and experimental
representation of real through sound and film collages, full of plastic and ritmic elements coming from painting and
music, as well as from the acusmatic sound and pre-sound practices of cinema.
Reality that became more “understandable” through naturalistic film representation of sound and images, of montage,
assumed for most of the cinematographic documentary films. Films where sound became informative in his words,
realistic in his synchronized noises and talks, dramatic and heroic in sounds contrapuntist and non-synchronized
approach to image narrative.
Poetic sounds that give the sense of artistic freedom experimented by the avant-garde noise and radioart, even
when linked to “reality” too (a film it’s always a construction).
Keywords: Modernism, Cinema, Documentary, Sound, Collage
Corpo feminino, exploração e submissão em “Baixio das Bestas”

Leonardo Assunção Bião Almeida
Universidade Estadual de Santa Cruz, Brasil
Ricardo Oliveira de Freitas
Abstract
Throughout the course of history, the woman was reticent and submissive position inferior to men, of which she is
the absolute otherness. Within this perspective, one of the best ways of the personification of this power relationship
in which she is qualified, it is your own body. While this is the externality of grace and beauty of a woman is also the
reason for the subjugation of females to males. This article aims to examine how is given this question of female
body in the film Baixio das Bestas (2007) by Claudio Assis, where such submission earns status of exploration. It
should also draw a trajectory of feminist studies in order to better understand the ways of this problem.
Keywords: Feminism, Female Body, Exploration, Baixio das Bestas.
Cyberdocumentário: tendências e implicações

Azevedo Luíndia, Luiza Elayne
Universidade Federal do Amazonas - Brasil
Abstract
The paper reflects on the break boundaries of traditional documentary for cyberdocumentary or neodocumentary
by incorporating narrative strategies of fiction, video clip, the computer electronic games and cyberculture. It’s
aimed at rejecting the discourse of sobriety and alignment of traditional documentaries to go into hybrid or reflective
contexts, where the documentary reaches its status as a subjective reflection. The prospect is unfolding from the
documentary – an essay that is not related to the dichotomy between fiction and nonfiction. The digitization of
images and camera-telematic procedures for public enunciation of the documentary provided a dizzying increase
on the visibility of documentary filmmaking. The production of documentaries is increasing in different ways.
Through the technology, media convergence and hybridity of both media and cyberculture, transformations have
occurred in several sectors of cinema, especially in the documentary. The aim is then to analyze scenarios related to
combinations and reinterpretations having as bases the synthesis image and implications of hybridity of digital multi
support of documentaries. It seeks, also, to understand the twists of the devices and their trends and implications if
taking into account the following elements: 1. From the viewer to the director 2. Technology, democracy, distribution
and access, 3. Narrative, content, technical quality and transformations. To be effective, we used a literature and
descriptive search in parameters of critical interpretation.
Keywords: Technology, Cyberdocumentary, Cyberculture, Hybridity, Transformations
41
El dibujo de preproducción. El storyboard y los diseños de planificación en el cine
español actual.
Angeles Muñoz Civantos
Facultad de Bellas Artes Alonso Cano, Universidad de Granada, España
Abstract
Since the beginning of cinema, drawing has been a key element in the pre-production phase: drawings make it
possible to pre-visualize the final product and determine the optimum conditions needed for its achievement.
Ever since Webb Smith released the first drawn script for “The three pigs” in 1933, the storyboard has been an
indispensable tool in the animated cinema where the representation of action and movement requires thorough
planning. This resource provides the draftsman with numerous possibilities to experience with changes and to
prevent possible problems before filming. Because of this, the true-image cinema joined in this practice becoming
sensitive to its relevance and its advantages of reducing costs and time of the project’s execution. In this way,
masters of cinema such as Alfred Hitchcock or Akira Kurosawa have used this technique meticulously in their best-
known works.
Even though the use of drawings is a established practice in the international scene, it has not become usual in
Spain. In the Spanish cinematography, there are scarce examples of filmmakers who have used the graphic script
and, among them, this is not so often.
This communication intends to bring the significance of pre-production drawing to light and to determine its current
state within the Spanish cinematography. To that end, it will be essential a deep analysis of the graphic documents
made during the last decade in order to produce a typology and a catalogue of Spanish pre-production draftsmen,
which serve as a point of reference to related research about this topic.
Keywords: Storyboard, Cinema, Spain, Drawing, Preproduction
El proceso de desarrollo del guiónmainstream: factores institucionales

Marc Plana Botey
Universitat Autònoma de Barcelona, España
Abstract
Fiction narrative surrounds us. The study of factors that unify narration in mainstream films can show the way that
cinema reproduces social meanings. This paper focuses on the script development process and the different roles
that the screenwriters play within it. This process could be described as an institutional path that tends to unifies
narration points, felt as common places: the conflict, the final change, the world as a meaningful place, the order,
the characters’ choice… No matter which the final form is, a huge market -formed from gurus like Mckee or Field
to agencies or execs- guarantees an inner uniformity beyond the screenwriters will. This paper tries to show how
Hollywood industry and ideology is an important key to reproduce the mainstream form from the spec market to the
Studio projects. In this way, it can be said that it acts as a narrative institution.
As an example, I study the characters’ choice in the most seen films in the last 20 years. I focus on the development
process using screenwriters’ interviews and notes. From a constructivist point of view, the meaning of characters’
choice could interact with other social meanings of freedom and reproduce them in the sense Michela Marzano has
studied recently.
Keywords: Screenwriting, Mainstream, Hollywood, Bordwell, Freedom
Entre o universo visual e o textual: imagens do cinema na obra de Jorge de Sena

Dora Nunes Gago
FCT/CLC-Universidade de Aveiro; CETAPS (FCSH), Portugal
Abstract
Jorge de Sena, like any great lover of all types of art, was an attentive, clarified and critical cinema enthusiast.
He wrote several essays about cinema, compiled in the book Sobre Cinema (1988), organized by Mécia de Sena.
However, the presence of the cinema, as well as the crossing of different type of arts, is also evident in the author’s
literary books, namely in a few poems.
After these poetic texts, we will analyse Sena’s concept in which concerns the cinema, his privileged type of cinema
and the theoretical instruments used to penetrate in the cinematographic plays.
In short, we will try to understand how crossing the visual and auditive universe with the literary one Jorge de Sena
conceives the Seventh Art as a synthesis, not only of the other types of art, but also of life.
Keywords: Cinema,Literature, Jorge de Sena, Art, Images
42
Escritores de filmes: Quem são, o que fazem? Uma investigação dos roteiristas/
guionistas brasileiros
Glaucia Davino
Abstract
This article is about the script /screenplay in Brazilian Cinema. In historiography, Brazilian cinema has been markedly
developed under a non-industrial system, equipped with low investment and therefore under strong authorial trait
in which the director used to be the author’s own scripts. As a consequence, until then, studies on Brazilian cinema
have not included significant research on the screenplay professionals, the script and its expressions. In the last
two decades, the authorial trace on directors remained, but a generation aware of the need for different forms
of professional performance in the front of realities and facts of economic, cultural and social, began to develop
his films in a model that includes the writer. The writers have created associations “AR” and “AC” and started the
establishment of a professional representative class and official recognition. The production of Brazilian films is
changing significantly with the presence of these professional screenplay writers, who sign unerringly the authorship
of screenplays as well as directors sign the authorship of the film (which contains the script). In this article, based on
research conducted through interviews with the writers, we mark the emergence of this new paradigm in favor of the
writer, without suppressing or downplaying the authorship of the film director, copyrights, etc.
Keywords: Screenwriters, Brazilian Cinema, Authorship; “Screenwriters´ Histories”; New Audiovisual Paradigm
Expresión plástica del movimiento a través de la combinación de animación y acción

real
Rosa Peris Medina
Carmen Lloret
Mercedes Peris Medina
Abstract
Through this study we aim to analyse the differences between live action and animation, and how one can be in
conjunction with the other by valuing their differences.
Many productions combine both mediums of expression. In these films, animation and live action are sometimes
shown as plastic worlds apart, or sometimes complementary, when the animation becomes an extension of the real
world (as a technique of configuring visual effects or by having its own identity in the film).
The works of Svankmajer and Harryhausen, among others, are examples used to talk about essential matters of
the combination of animation and live action, and about the different dynamic expression that each one possesses;
in both techniques the movement is expressed in progression, but cinema is made by registration of real motion,
whereas animation is the plastic expression of movement, which requires making each and every frame and the
detailed observation of the movement. Combining both techniques in a single work the difference can be strengthened
for expressive purposes (animation with “lived-movement”) or diminished, what is usually done by approximating
the animation to live action (realistic animation through the mechanics of the movement). However, this means
renouncing the expressive characteristics of the medium, because the versatility of the animation (which does not
rely on existing moving object) not only involves the subject, but also the way of expression.
So to find the integration of both languages is not simply a question of similarity between them, but to achieve
harmony on the whole.
Keywords: Animation, Live-action, Movement, Art, Plastic-expression
43
Female discourse in Turkey: A research for the first five films according to the 2010 box-
office revenues
Elif Gizem UGURLU
Anadolu University, Turkey
Hakan UGURLU
Abstract
Unlike painting and photography film through motion, offers the viewer a world that is mirror of life but it is not true.
The audience encounters with a large number of images. This is one of the images in the case of femininity.
It is considered to be the films reflect social values and social exchange. Through films, in which the relationships
and behavior patterns of women or in which the environment or community they are presented, indicators or
presentation of femininity, presents new roles and reinforce existing roles to audience.
Eight of the top ten films in terms of box office revenues in 2010, the Turkish film. In this research is examine in the
first five films how to create the image of women and femininity indicators are presented.
Keyword: Turkey, Film, Femininity, Semiotics, Box Office
Game glitches
Martin Schlesinger
Ruhr-Universität Bochum, Germany
Abstract
Starting from Rosa Menkman’s “Glitch Studies Manifesto” this paper discusses the notion of glitch as a cultural
technique and aesthetic phenomenon. While Menkman considers a glitch as a productive interruption that can occur
in and between different media, the focus lies on a special kind of game glitch and its documentation by gamers,
publishing their discoveries on video platforms on the Internet. In an analysis of the search for hidden possibilities to
escape from the gameplay and the boundaries of a game engine, we describe these glitch videos as an own genre,
using video game images for short films. In reference to Tom Gunning’s concept of “the cinema of attractions” and
Michel Chion’s description of the “acousmêtre“, the article examines characteristics, the space and the protagonists
of this game glitch videos.
Keywords: Glitch, Game, Youtube, Cinema of Attractions, Acousmêtre
Information society discourse in Turkey: traces of elements the information society in

the first five films according to the 2010 box-office revenues
Hakan UGURLU
Elif Gizem UGURLU
Abstract
Information age societies are described as societies connected to each other with complex electronic information
and communication networks. The basis of this structure is formed through the wide usage of communication
technologies. The increase in the need for information, the production of information, and its pace are the determining
factors of information age societies. It has made life easier and faster to cater for the needs of daily life with computer
based technologies.
Films taken in the new period in Turkey, as well as the flow of information and communication tools, life is. The
need for communication tools and information to use last period samples are exhibited in the Turkish cinema. In
this study is examine via the method of content analysis, communication and information tools available to see the
first five Turkish films of the year 2010.
Keywords: Turkey, Film, Content Analysis, Information Society, Communication Tools
44
La influencia de la fábula en el cine de animación.
María Vanesa Román Jaime
Universidad de Malaga, España
Abstract
When we analyze the first cartoon, we notice that one of the elements which has especially influenced animation
films is the fable, both in the conception of the characters and in the adaptation of the stories. This evidence can
be watched both in American and Japanese animation. The fables, originated in Mesopotamia, are short literary
compositions, in which characters are almost always anthropomorphized animals or objects, i.e. having human
features, among which we find the speech. The human being often use to express what he already know. If we start
from this premise, it is normal for the first animations to have animals as main characters, because in the nineteenth
century there were a great love of stories featuring animals. This trend did not only happen in the West, but also
arrived at the East, when stories written by the Grimm Brothers or the Fontaine came; these stories were called
Dowa. The purpose of this conference is to show the interpretations made about animals and animal stories.
Keywords: Animation, Fable, Tales, Anime, Cartoons.
La nueva era del cine en su diversidad estética, tecnológica y conceptual

Ana Florido Arreza
Licenciada en Historia del Arte por la Universidad de Málaga, España
Abstract
The aesthetics renewal of the new film language occurs as a result of observing life through the various mass media
in which appear new forms of artistry, such as fashion, design, music, movie or comic, within a space deployed
worldwide within the subgenus.
Digital cinema brought new expressive possibilities generated through technological advances such as high definition
or computer input with images created entirely by computers, where the presence of the actors are not supposed to
be a factor. It has also had special significance on the videoclip that broke the rules of the classical language of MRI.
Short films were the turning point for other modes of film making. The new age digital attracted an increasingly
demanding public who wanted to interact with technology by providing new values to the aesthetic language of
cinema. Internet today is an open door for new creative talent in home videos, video art, net art, cyberart or film
compressed that, by the digital nature of very short duration, are marginal films of small format presented at great
festivals, such as Notodofilmfest.
There are also new aesthetic introduced by digital technology, transgressive in essence, but that does not break
with the formulations of traditional film. This development is presented in a short film called Fuga, where animation,
music and reality merge as an aesthetic proposal of the new art technology.
Keywords: Short Film, Digital Technology, Infogrames, Video Art, Compressed Movies
Le cinéma grec du vingt-première siècle

Kostoula Kaloudi
Faculté des Beaux Arts, Département d’Etudes Théâtrales,
Université du Péloponnèse / Nafplio, Grèce
Abstract
In the early 21st century, after years of silence, the Greek cinema changed course and returned to the forefront,
producing very notable films in a variety of genres. Films such as Knifer by Giannis Oikonomidis, Dogtooth by
Yorgos Lanthimos, Strella by Panos Koutras, Attenberg by Athina Tsangari and Homeland by Syllas Tzoumerkas, all
of which came out during the last decade, were screened at international festivals, some of them garnering awards
and attracting strong interest from the Greek public in a way that we had not seen in years. We may, therefore, speak
of a “comeback”, a “renaissance” of Greek cinema.
What is the profile of Greek cinema today? What are these films about, which aspects of the Greek society do they
concern, given their always close relationship with it? Do they share any common characteristics, or does each
of these films belong to a different genre? In which ways have the narrative and aesthetic aspects of the Greek
cinematic landscape been renewed? If the cinema is a social barometer, can we identify in these young artists’ films
the early intimations of the financial and broader crisis facing Greece today?
Keywords: Greece, New, Cinema, Gender, Society
45
Le téléviseur dans le film
Arnaud Widendaële
Lille 3, CEAC, France
Abstract
Still pictures set in the cinematographic frame allow movie directors to tell a lot with just a few means. That’s an easy
process for classical storytelling. But when these pictures come from videotapes and as a consequence are moving,
something happens beyond a narrative matter. A moving picture fit into another moving picture asks questions
about the articulation of two movements and about the way meanings come through this configuration. The study
that reflects upon Gregg Araki’s Totally F***ed Up shows one emblematic example of specific effects produced by
the presence of the video in a film.
Keywords: Araki, Cinema, Video, Frame, Keying
Literatura e Cinema – O museu de Tadzio e a morte de Veneza: Visconti, leitor de

Thomas Mann
Suzana Ramos
Abstract
The relation between literature and cinema has often been understood in terms of a myth that does not honour
the nature of the two different arts – the myth of fidelity or faithfulness – and at the expense of a spirit of loyalty,
as unusual as it is advisable for the deepening of their interaction. Therefore, by distinguishing between these two
concepts, we intend to analyze how Luchino Visconti rethinks and reinterprets Thomas Mann’s novella, Death
in Venice, seeing that the Italian director’s movie is a quintessential example of what could be called a desirable
relation between literature and cinema. Taking into account that Visconti conceived - by visual means – a particularly
revealing hermeneutic proposal as regards the interpretation of the German author’s masterpiece, one can confirm
that time has brought about something unheard of: it has ranked the book and the film so evenly that it has become
impossible to analyze one without reflecting on the other, thus creating, as Fellini termed it, a relation of pure
“alchemy” between the two works of art. As a result, our presentation aims at examining the fundamental axes
presiding over the deconstruction of a literary universe that, due to its purely mental quality, could hardly take on a
visible form. The features we granted particular attention to include the following: the way Aschenbach experiences
his intimate drama of love and art; the figurative dimension of Venice as a city-character; certain creative liberties
taken during the big screen adaptation; Visconti and cinema-painting; the role of the adagietto from Mahler’s 5th
Symphony.
Keywords: Literature and Cinema, Adaptation, Beauty, Visconti, Thomas Mann.
Male discourse in Turkey A research for the first five films according to the 2010 box-
office revenues.
Canan Uluyagci
Anadolu University Communication Science Faculty Eskisehir,Turkey
Abstract
Societies can install different roles for men and women while preserving their unique qualities of some. Gender roles
are determined fi rst in the family. Taught indifferent roles for girls and boys. For example, while male child identifi ed
with physical force, the girl child is identifi ed with weakness. Society teaches to boys “like a men” act. Thus, male
identity begins to form.
Starting to happen in the family, then this identity reinforced by institutions such as schools. In addition, the formation
of sexual identity and plays an active role in shaping the mass media. Cinema History inparticular, is an effective tool
to reinforce the role of teaching and learned their roles.
In this study, fi rst fi ve fi lms according to the 2010 box-offi ce revenues will be discussed. Main problem is the why
these fi lms are most-watched? One of the reasons the image of society as refl ected in the existing men. Therefore,
how to create the image of men in the fi lm, the fi ve highest box offi ce and how masculinity indicators presented
will be examined.
Keyword: Turkey, Film, Masculinity, Semiotics, Box Office
46
Martial Arts in chinese blockbusters
Junting Zhang
Utrecht University, the Netherlands
Abstract
Initiated by Hero (Zhang Yimou, 2002), martial arts scenes as traditionally popular cinematic motifs have become
since 2002 the stylish new-born high concept films in China. These films consciously adopt production patterns of
high concept films inherited from the post-classical Hollywood era, possessing all identifiable features in the Chinese
film history both at the macro-level of integrated marketing and micro-level of visual style.
Focusing on the role of martial-arts scenes in these films and their filmic style, this paper examines a new aesthetic
style by indicating how the filmic conventions of martial arts are adapted into this distinctive visual style. With regard
to the institutional system of high concept films, the visual style would assessed in the corpus scale of the film
scenes as well as film trailers part of the advertising campaigns.
With an emphasis on the filmic style, I trace in this paper two streams of power which are involved in shaping the
new visual style of the excess moments representing martial arts. On one hand, there are features inherited from
the conventions developed in the long history of martial-arts films, which have made this genre popular around the
world. On the other hand, these conventions have undergone considerable change to fit into the “high concept”
style, which is shaped by the production and distribution systems. Both streams of power are attributed to the style of
these high concept martial-arts films, making them what they are. This article will illustrate how both of them interact.
Keywords: Martial Arts Acenes, Chinese Film Conventions, High Concept
Modos de apropiación y usos sociales del cine Colombia 1958 - 1997

Maritza Ceballos S.
Universidad de la Sabana, Colombia
Edward Goyeneche
Universidad de la Sabana, Colombia
Abstract
This paper addresses the problem of film reception from the perspective of practices and of the modes of appropriation
and social uses of media in two stages: in a conceptual way, it first develops the relationship between cinema and
the political and social practices, raised by Benjamin; second, it explores the elements that provides the focus
of public history, and thirdly, from the concept of the practice of film, it explains how visual meanings are socially
constructed. Finally, by way of example, it presents some hypotheses about the uses and functions of Colombian
film between 1958 and 1997.
Keywords: Colombian Film, Public, Practices, Social Uses
Nuevas propuestas audiovisuales en el cine de no ficción: el caso del novo cinema

galego
Isabel Martínez Martínez
Universidade de Vigo, España
Abstract
A lot has been said throughout the last years about the mutations of audiovisual industry with the appearance of
digital technology (costs reduction, simplicity in the routines, emergence of the new platforms of emission and
spreading, increase of distribution channels, etc. However, one of the most important mutations has taken place in
the movie story itself: the traditional classification between fiction and documentary has lost a great part of its power
and the limits have been blurred leaving a place for a new conception of understanding cinema and audio-visual
story.
Communication tries to show some tendencies that some of the theorists such as Platinga o Weinrichter have
named as non-fiction cinema and that has been revealed as a way to conceive the cinematographic fact. To get this,
communication will analyse the case of the New Galician cinema, movement appearing in 2006 in Galicia (Spain),
with the appearance of a new generation of film-makers that break with the industrial conception of the audiovisual
that was established in Galicia and its productive models: for that, they choose a personal creation, with a minimum
cost and that has been helped by the appearance of a series of public policies of autonomic character that favour an
individual creation and experimentation.
Keywords: Non-fiction Cinema, New Narratives, Mutations, New Galician Cinema, Documentary.
47
O documentário biográfico e sua oferenda de múltiplas identidades
Denise Tavares
Universidade Federal Fluminense, Brasil
Abstract
If the tradition of the classical biography is the linear relationship of causality, the biographical documentary breaks
down this logic, betting that it is the contradictory elements and the different representations that better defines “I”. In
such a way, it seems that the force of the biographed character is diluted and his surroundings revealed, in a process
that includes a vast research of archival material – which will be redefined -, intense dialogue with the design and
the visual arts, and subtle interviews that establish a delicate memory game. It is a strategy also imposed by the
accumulation of available records, by the possible juggling thanks to the digital technologies and by the conviction
that the reverence to the greatness of the biographed character is due to the delicate treatment of his human
condition. Such as, “Cartola – music for the eyes”, by Lirio Ferreira and Hilton Lacerda, and “The Man Who Bottle
Clouds”, also by Lirio Ferreira. These films comprise a label that links the samba and baião – Cartola and Humberto
Teixeira. Therefore, it is no longer about an “I” reducible to the work and/or the individual. They are constructions that
give themselves to the peculiar, recognizing that the existence can only be fulfilled by the “I think”, disguised as pure
cinema (narrative that only the camera can tell). And the social world, whose tendency is to identify the individual
under the regularity of shared landmarks, rethinks it’s logic. At the end, which life would fit in just two hours?
Keywords: Documentary, Biography, Cartola, Humberto Teixeira, Brazilian Cinema
O espaço diegético no Cinema Contemporâneo: novas dinâmicas no processo de

produção do cinema
India Mara Martins
Universidade Federal Fluminense - UFF, Brasil
Abstract
The present paper discusses the setting up of the diegetic space in Cinema in contemporary author’s propositions
and compares these theories with the new spatial dimension presented by the virtual computer-generated sets.
The article lists important space-related categories defined by Martin, Costa and Gardies and speculates about the
boundaries and new possibilities of creating virtual scenery. Beyond the conceptual changes, the creation of virtual
scenery transformed an entire area vital to Cinema, since it involves a group of interdisciplinary professionals,
modifies the working relationships at different stages of filmmaking and the mise en scène itself.
Keywords: Diegetic Space, Virtual Scenery, Technology, Cinema Contemporary.
O insuperável distanciamento das personagens e espaço ficcional na obra de Wong

Kar-Wai
Ricardo Gomes Coelho da Silva
Faculdade de Arquitectura da Universidade Técnica de Lisboa, Portugal
Carlos Manuel de Almeida Figueiredo
Abstract
From Anna Karenina, by Leo Tolstoy, seems to emerge a structuring principle in the film narratives of the director
Wong Kar-Wai, the unraveling of tragic misfortune family lives, almost obsessive. Wong places us, recursively,
in spaces where a dense, dysfunctional atmospheres with a chaotic impression, make us feel simultaneously as
belonging that restricted spaces but deeply constrained by the invasion we make in them. This approach can be
seen in “Days of Being Wild” (A Fei Jingjyuhn - 1990), “Chungking Express” (Chung Hing Sam Lam - 1994) or “In the
Mood for Love” (Fa Yeung Nin Wa - 2000). Emphasizing his own vision of the world, filmmaker interventions arises,
in which he reinforces his sense of seeing without being seen. His camera seizes us to the unfolding narratives,
paradoxically maintaining at the same time an obsessive detachment, reflected in an intimate built space.
In his films a space “contaminated” by the Asian Culture arises, framed by a social climate of “Kawaii” tradition, which
he extends towards childishness, innocence, kindness and great fragility. There is in his work like a dimensional
barrier in the thick atmosphere of confined spaces, which present themselves to Western Culture as “uninhabitable.”
His characters wander by the places in a state of illusion, making us believe the action unfolds in an environment
of apparent somnambulism, a kind of a daydream. In fact, Wong does not seem to be truly interested in narrating
fictions: there is in him an apparent intentionality reporting life in a fragmented way.
Keywords: Wong Kar-Wai, Cinema, Detachment, Unreality, Hong Kong.
48
O metacinema norte-americano e o storytelling: de Orson Welles a David Lynch
Fátima Chinita
E.S.T.C./C.I.A.C., Portugal
Abstract
The American metacinema which, by tradition, is narrative but extremely formulaic favours the story above the
telling. No man contributed more to alter these state of affairs than Orson Welles, whose cinematic practice exalted
the filmic enunciation and linked it more explicitly with the narrative intentions of the creator, making it obvious that
metanarrative is synonymous with metacinema. With Citizen Kane (1941), in particular, the cinema was made more
disnarrative, as meant by French writer/director Alain Robbe–Grillet, well ahead of Modernism. The fragmented
narration, the temporal convolutions, a tendency for paradox and the interpretative obstacles all come together
to anticipate the serial practice of David Lynch in his last four features. Structuring the films in segments which
constitute different but complementary versions of the same events, Lynch manages to express the director’s
enunciation along with the narration of the characters, reinforcing the role of the telling in the midst of the story. In
INLAND EMPIRE (2006) the use of mise-en-abyme as a way of duplicating stories and tellers further increases the
objective and complicates what is clearly the reign of the puzzle or mind-game film. In the footsteps of Welles, Lynch
contributed for an outbreak of metanarrative / metacinematic crossover indie films closer to the European aesthetic
practice but still very much within the American narrative tradition.
Keywords: Metacinema, Storytelling, Enunciation, Orson Welles, David Lynch.
O pós-dramático e a desdramatização da cena: teatro e cinema

Rafael Conde
Universidade Federal de Minas Gerais, Brasil
Abstract
The review intends to investigate the applicability of the “post-dramatic” idea proposed by the German theater theorist
Hans-Thies Lehmann to the field of cinema. Beginning from the statement that the classic cinema has inherited from
the theater its dramatic vocation based on the fictitious cosmos and on the making of illusion, the specificities from
both working fields don’t prevent the observation that in cinema a contemporary marginal production also emerged
to deconstruct the classic-linear narrative, finding new working procedures with the actor, creating new play-writings
and spaces. Just like the post-dramatic theater, these movies would also confront the mass-media society and the
hegemonic audiovisual. At the same time the review introduces the term “dedramatization”, coined by the north-
American theorist David Bordwell, who analyzes some staging procedures to the camera. In order to exemplify the
“other forms of cinema” that deconstruct the traditional play, the work presents a short film from Brazilian Marcellvs
L., analyzing new interactions between look and scene.
Keywords: Theater, Cinema, Post-dramatic, Dedramatization, Actor.
Onde está Lisboa no Cinema Português?

Afonso Manuel Freitas Cortez-Pinto
Instituto de História da Arte, FCSH/UNL, Portugal
Abstract
Cities had barely made its way under the spotlight of Portuguese film fiction until 1930, the year Lisbon finally
achieved prominence in Leitão de Barros’s “Lisboa, Crónica Anedótica”. Multiplied into screenshots, the film granted
a modernist character to a city, which in reality was not particularly modern. Still, all this was not enough to sustain
an idea of urbanity in portuguese cinema. A one-film-only approach which was not continued, and from that moment
on the city is progressively diminished until it becomes a neighborhood, fitting inside a film studio. With “A Canção
de Lisboa” (1933) setting the standard, in the long series of “courtyard films” that followed, the city, seen in pan
shots and travellings, becomes a mere curtain between different scenes. The films, consciously constructed with a
limited topography, draw a path which is concentrated in an axis set along the river, as opposed to the direction in
which Lisbon was growing. A city in development is hidden away and for that reason, the people of Lisbon do not
see themselves or the place they live.
It took 30 years until a new generation came along, who decided to head into the city and showcase other Lisbons, in
all “her” new architecture and lifestyles. All this almost fell short, given that “Os Verdes Anos” (1963) and “Belarmino”
(1964) were films which attracted few audiences. The false cosmopolitanism of “Passagem de Nível” (1965) was
considered to be far more enjoyable…
Keywords: Cinema, Arquitectura, Urbanismo, Lisboa
49
Ônibus 174 e Wilsinho Galiléia: A ressignificação de imagens de arquivo em
documentários brasileiros que problematizam a temática do bandido
Guilherme Bento de Faria Lima
Pontifícia Universidade Católica do Rio de Janeiro, Brasil
Abstract
This article intends to analyze similar aspects in two documentaries; Ônibus 174 (2002) film directed by José
Padilha and Wilsinho Galiléia (1978) film directed by João Batista de Andrade. Investigate the use of audiovisual
archives and their aesthetic consequences within each work.
The German filmmaker Harun Farocki says: “You don’t have to search for new images, ones never seen before,
but you do have to utilise the existing ones in such a way that they become new.” Thus, it seems interesting to
deconstruct and investigate how these two directors elaborate new meanings from the archive footage in those
documentaries that reintroducing violent episodes of the Brazilian daily urban.
From the life trajectory of the bandit evaluate how the visual discourses are constructed and how real facts are
rearranged. According to Jean-Louis Comolli consider how these representations are displaced by the world filmed.
Moreover, according to the concept of George Didi-Huberman, the images are not everything, they do not have a
single truth. Therefore, this paper aims to analyze how the organizing role of the montage to rearticulate the past,
retell a story and revisit memory is developed in each of these documentaries.
Keywords: Documentary, Archive Footage, Montage, Reenactment, Resignification
Os super-heróis tomam conta de nós: uma idade de ouro da adaptação

cinematográfica?
Luís Nogueira
Universidade da Beira Interior, Portugal
Abstract
Heroes (either super, simple or anti) have taken, in recent years, the world of film through comic books adaptations.
This is not new, but it happens on an unprecedented scale. If we assume that, in the twentieth century, comics stand
for graphic arts as film stands for moving images, pop-culture seems to be closing a cycle in taking our imaginary.
Comic books adaptations are increasingly common both in American and European industries. Still, fairly or not,
those images and themes are looked at with critical and academic significant disdain. For this reason also, it seems
the right moment and a good pretext for retrieving multiple instances of philosophical and theoretical thought in
philosophy and cultural theory – the critique of the cultural industries, the critique of the society of the spectacle, the
volatility of post-modernity – and relate it to comics and films altogether.
Right now, we seem to witness a kind of golden age of comics’ adaptation, with consecutive titles to be produced.
That seems not negligible to us; so we ask: why this phenomenon? Are the generations of geeks and young people
of past decades taking in their hands the cultural celebration of their heroes? How and who determines and monitors
the parameters and modalities of the adaptations (free, literal, true or... inadmissible)? Is there some sort of artistic
guarantee in the contribution of undeniably prestigious authors – from both arts – such as Stan Lee, Frank Miller,
Alan Moore, Enki Bilal and Dave McKean, Tim Burton, Christopher Nolan, Bryan Singer, Ang Lee or Zach Snyder?
Keywords: Superheroes, Adaptation, Culture Industriy, Post-modernity, Pop-culture
50
Please tell me my own story: story and narration structure at contemporary turkish
cinema (new york’da bes minare, recep ivedik 3, eyvah eyvah, yahsi bati, av mevsimi)
S. Serhat Serter
Alper Altunay
Abstract
According to “Box Office Mojo” parameters for 2010 the most successful five films of every country in Europe are
mostly consist of Hollywood Productions and the first five lineups have at least four Hollywood features while most of
them have five. However there is only one country which does not evade that rule. Turkey is the one & only country
whose first five box office lineups are only consist of Turkish Films in 2010 and which does not have any Hollywood
production or other foreign film. This data looks so interesting and is need to be examined. The most successful
five films according to 2010 box office parameters in Turkey are New York’ta Bes Minare, Recep Ivedik 3, Eyvah
Eyvah, Yahsi Batı and Av Mevsimi and all of them have some common characteristics, but especially for the stories
and narrative structures. It is certain that Turkish audience want to watch “Turkish” stories instead of foreign ones
and being thought that their success for box office results from that mixture of storytelling. The main purpose of this
presentation is not just to examine the reasons for box office success of those films according to their stories and
narrative structures, but also to analyze the codes & characteristics behind them. The way how they can manage
to do it, appears to be analyzed because it can be helpful for understanding the relationship between the box office
success and the storytelling at the Contemporary Turkish Cinema.
Keywords: Cinema, Story, Narration, Turkish Cinema
Projetando narrativas: o Design industrial como arte conceitual em filmes

contemporâneos
Daniel Moreira de Sousa Pinna
Marcos Aurélio Machado dos Santos
Universidade Veiga de Almeida, Brasil
Abstract
All narrative works have as a central element the plot – a structural axis that leads the story from its beginning to the
conclusion. When the media is characterized by visual properties, however, it is necessary the development of the
art direction, which will involve the design of characters, costumes, scene objects and sets. The conceptualization of
a visual narrative must cover all aspects related to the story’s visual. It is related to the atmosphere of the plot, and
allows the spectators to see what was only imagined on the plot.
Concept art has evolved and gained even greater importance at the movie industry as a natural consequence to
the increasing use of CGI technology in contemporary cinema, which makes real at the diegetic space any creation
of the imagination. The concept artist then becomes crucial to the presentation of fantastic realities on the screen.
To him is given the task of imagining the nonexistent. However, their performance is very subtle in movies set in
realities closer to nowadays real world, as the recent Inception and Iron man 2. Here enters the scene the designer,
a professional trained with the ability to create functional objects for everyday use from identified everyday needs.
This brief paper discusses the designer’s role in major cinema productions from the analysis of the work of two
professional automobile designers at the visual development of the vehicles seen in the recent movies Minority
report (2002), Iron man 2 (2010) and Tron: legacy (2010).
Keywords: Concept Art, Design, Art Direction, Automobile Design, Production Design
51
Proto-Cinema and pro-cinema in Israel and Palestine
By Igal Bursztyn
Tel-Aviv University, Israel
Abstract
This paper will discuss ideological and aesthetic developments in recent Israeli and Palestinian filmmaking. While
early Palestinian filmmakers felt that ‘Film’s success is evaluated by the same criteria as military success: both strive
to attain political goals’ (from the 1973 Tashkent Film Festival manifesto) and early Zionist filmmakers stated in a
manifesto published before the establishment of the Jewish state that their purpose was to present ‘the heroics of a
desperate and wretched people … on the battle-front for a deserted and waste land’ - recent Israeli and Palestinian
cinemas contain an implicit criticism of their respective societies and a reflexive awareness not only of their contents
but also of their stylistics. These critical conjunctions have enriched Middle-East Cinema with new, unexpected
contents and forms.
Keywords: Aesthetics, Politics, Ideology, Cinema, Middle-East.
Quem é ateu e viu milagres como eu - uma abordagem sobre a cinematografia de

Nelson Pereira dos Santos
Marise Berta de Souza
Universidade Federal da Bahia, Brasil
Abstract
This article seeks to establish the relationship between the films, texts and performance of Nelson Pereira dos Santos
in the political-cultural scene of his time in order to demonstrate his role and the strategic position he occupies in the
constitution of the modern Brazilian cinema. In his way the filmmaker moved between different worlds - the politics,
people, religion, literature, and especially the cinema where he promoted a revolution when shooting, in 1955, his
first feature film, Rio, 40 degrees (Rio, 40 graus), turning inside out the Brazilian cinema, indicating then its vocation.
The Brazilian people was revealed in its real picture, a tender and poignant story, highlighted at the screen with
extreme dignity and lyricism. The research undertaken is carried out especially by addressing the consolidation of
his cinematography, able to traverse the arc of time, totaling six decades of operations, making him an emblematic
and representative director of the adventure of Brazilian cinema. Its evident that Nelson Pereira dos Santos has
opened doors and explored fertile ways to create a proper dramaturgy fit for the Brazilian film, playing a pioneering
role in the exploitation of themes that reveal the social reality of the country, at the same time as he operates
narrative practices that give style and allow experimentation in his filmmaking.
Keywords: Nelson Pereira dos Santos, Brazilian Cinema, Route, Cinematography, Narrative.
Role of Public Relations for Film Marketing in Turkey: NewYork’da Beş Minare (Five
Minaret In New York)
Sevil Bayçu
Abstract
Nowadays, innovations and changes occur in the film industry like in every field. For example acting, shooting
techniques and so on. Countries where the films release date, the public relations activities are carried out
by the film makers. This public relations activities in relation to the various promotional methods are being
used. This is a variety of promotional methods are carried out through mass media. Before and after film
premiere, there are shots of somescenes from the movie and the players’ characters in the movie is about
the various interviews and news magazine content.
Besides, many news are located in the media like shoots from film premier and the breif interwievs with players,
actors and actress’s photograps and their comments about the movie and newspaper and magazine columnists
comments. Through this news, audience have an idea about the movie so provides the audience with feelings of
wonder to go to the film. The majority of news will have an effect box office revenues.
Based on this assumption, the study aims to examine according to box-office revenues of the film entered the top
5 national natoinal news media reports. Subject of the film, the film’s shooting stages, the director, actors, premiere,
the players’ experiences with the film magazine through content analysis will be an evaluation of the relationship
between newspaper news and movie box office were be examined.
Keywords: Turkey, Film Marketing, Public Relations, Box Office, Content Analyis
52
Short-circuiting meaning: sound experiments in Manoel de Oliveira’s My Case
Ana Isabel Soares
CIAC, Universidade do Algarve, Portugal
Abstract
O Meu Caso (My Case), the 1986 feature directed by Manoel de Oliveira, is a work made from the homonymous
play of Jose Régio (1957), dramatic texts by Samuel Beckett and excerpts from the Bible. Instead of the traditional
adaptation of the play into a movie, the director chose to use Régio’s text, as it was played out loud by the actors on
stage, and to use its plastic and sound potentiality in the film. The meaning of the words in the main play goes into
the background as the plasticity of the sound gradually comes to the fore, in a strategy that brings ‘pure’ sound and
‘pure’ image closer together and farther from the idea of narrative conventionality. O Meu Caso is a good example
of film experimentation with sound in Portuguese cinema (not unusual in the 1980s, and born out of the inspiration
in notable works of French directors such as Jean-Luc Godard or François Truffaut).
Keywords: Portuguese Cinema, Manoel de Oliveira, Sound Experimentation, O Meu Caso, Film Soundtracks
The Film’s setting - Notes for a pedagogy of the space/environmental functions of film
Sara Iommi
University of Bologna, Italy
Abstract
The primary target of my work is to investigate the concept of film space, starting from the meanings of words.
The terms environment and space have different meanings and different implication for film analysis.
During the last century, the technological revolution has changed our way to conceive spatiality. Despite Western
anthropocentrism, the “age of simultaneity” brings this topic back to its centrality.
A methodological approach based on Cultural Studies and referring to the modern European cinema (Gilles Deleuze,
in the eighties, defined it not stricly narrative and found many examples of “empty space”) proposes interesting
research material.
Increasing urbanization and space travels have a strong influence on post-modern cinema.
If the cinema is the art of visibile, it is therefore very important to investigate the relationships between interiors and
interiority and also the boundary line between imagine and imagination.
Futhermore, I am interested in the relationship between a character and background in the meaning construction.
The aim of my study is to try to define how much the furniture and the various other objects are relevant for the
drawing of the different characters. I would investigate in what way the geographical area, the landscapes and even
the weather may reflect cultural identity and emotional conditions.
Keywords: Setting, Analysis of Film, Modern European Cinema, Cultural Studies, Spatiality
The pleasure of translation: subtitles and cinephilia

Felipe Pruneda Sentíes
University of Pittsburgh, USA
Abstract
During the hey-day of French film appreciation circles in the first half of the twentieth century, subtitles were paired
with cinephilia: only true lovers of the cinema and connoisseurs would prefer the versions originales of the best
world cinema had to offer. Reading subtitles was seen as part of a spectatorial practice that wished to preserve
the integrity of a film and appreciate it in its artistic purity. Apart from enjoyment, there was a didactic urge in the
cinephile’s agenda. And that is only one instance in which screen translation was coupled with education – in other
words, with the opposite of entertainment, which is a feeling that still today prevents many viewers from watching
foreign language films.
However, as cinephilia has experienced a rebirth in film studies as a legitimate source of research, I propose the
incorporation of subtitles into new cinephiliac discourses as producers of cinematic pleasure rather than obstacles
to it. Given that subtitles create dissonances between the source and target languages, participate in unexpected
compositions as they invade the space of the images, and train our eyes to scan the screen in search for details
within the frame, subtitles partake in the location of moments that viewers can fetishize and investigate, and thus
are candidates for the generation not only of memorable instants in film, but also of writing that inspires both joy and
knowledge in tracing the ways in which the linguistic flows and all their national and cultural associations interact
with the moving image.
Keywords: Subtitles, Cinephilia, Translation, Transnational, Realism
53
The problem of murderous subjectivity in the film spectator: gaining a critical
perspective on the guilty viewer
Charles Campbell
Sultan Qaboos University, Oman
Abstract
Film theory suggests that film viewing is like the dream experience in that the spectator is immersed passively in the
images and story projected onto the screen. This makes the film experience pleasurable but also compulsive and
beyond the reach of our will and control. When this experience involves immoral activities, when it involves murder
and summary justice or vengeance, there is a problem with the dream-like nature of cinema. My paper considers
three questions:
1) How do films operate as individual dream simulation?
2) Is the viewer compelled to wish death on others, no matter what his views about the evil of violence?
3) Is there any way to gain a critical distance apart from the compulsion of the film’s death wish?
Keywords: Dream, Mechanism, Alienation, Projection, Image.
The Reality Effect in Fantasy´s Motion Picture Worlds

Carlos Manuel Almeida Figueiredo
Architectural Faculty of Technical Lisbon University, Portugal
Abstract
Film´s spaces representation, structure, design, materials, lighting, mood, references, aesthetic, social backgrounds,
framing, composition, editing and resulting synthetic space, feelings and meanings perceived are bounded to
metaphors related to Man’s myths and inner world as to the his reality’s experience, concepts and knowledge.
But we only have access to space through images that we integrate as a mental notion of “space”. In a film the
images’ flow and their nature can have a communication intension that confers them a planned nature.
In fact, the film’s viewer finds himself immerse in the films’ fictional worlds with its characters, where elapses its plot
and narrative, being creating meanings and a notion of self-living assigned to them. Without noticing the effective
film grammar devices, we feel ourselves being there, sharing the character’s expectations and fates.
This “reality effect” takes place even in films that we take for sure that can not belong to our own world, as Fantasy
Films with values, physical laws, events and characters that we know do not exist in our reality. But even then, we
also immerse in that fiction world and its events, felling them as having authenticity.
The basis that makes us live in a fictional a fantasy is found in ourselves and our knowledge of our existential
world, but the way that happens is not clear at all. In fact, without deeply understanding this phenomenon, the film’s
grammar and narrative has obtained a syntax that progressively are more effective in creating this “reality and
immersion effect”.
Keywords: Immersion, Scenic Space, Fantasy, Visual Narrative, Reality
The Straight Story (1999) by David Lynch: a story that is not so straight
José Duarte
CEAUL/FLUL/FCT, Portugal
Abstract
In 1999, David Lynch directed a film based upon the true story of Alvin Straight’s journey from Iowa to Wisconsin on
a lawnmower. The movie captured the audience’s attention because of its simplicity and straightforward narrative.
Nonetheless, The Straight Story offers more than just an ‘odyssey of a man dealing with the lasting bonds of family’
(Orgeron, 2008: 165).
Beneath a man’s trip to try to reconcile with his brother lays a story of motion: one that is based upon the ‘road movie’
genre and that, in some way, defies it. As a matter of fact, this is not a story about speed or, for that matter, rebellion
(although it has some countercultural characteristics). The movie has its own pace and time as it is shown by the
protagonist and his chosen vehicle: a lawnmower as opposed to the car or the motorbike (typical of road narratives).
This specific movement brings forth a story of a man dealing with the past, undertaking a journey of atonement
while, at the same time, representing a ‘prophet that wakes people from the suburban stupor of their straight lives’
(Laderman, 2002). Therefore, the aim of this paper is to look at this film in order to understand the story behind the
straight story, which is a narrative that redefines the notion of road movie, home and family, the movie being, first
and foremost, about ‘the ineffable mystery of perpetual change’ (Laderman, 2002) that is life.
Keywords: American Cinema, Journey, Road Movie, Identity, Family, Home
54
Transcendendo os limites do corpo: espaços imaterias na configuração do homem
digital
Érika Savernini
UFMG, Brasil;
UNI-BH, Brasil.
Abstract
The cinema, since its beginnings, prefigured the cyberspace as a new immaterial space collectively built. The
conception of this other place, non-physical, to where the man could migrate establishes for the cinema and for the
cyberspace a direct relation with utopias. In Thomas More’s philosophical romance sense, the Utopia is defined
as another space non-existent, unrealizable and ideal that diagnoses the real one. The cinema would carry on
fundamental characters of Utopia as regards to the realistic evidence presentation of a space non-existent, as to
contemplate it in the spectator’s experience (the utopias aspire for the critics and/or the interference in the world).
Although it used to be more evident in historical revolutionary moments, notably at the Russian Revolution of 1917
and the Cuban one in 1959, the cinema relations with utopia don’t only happens politically and ideologically. The
proposal of an emotional and psychological experience in an immaterial universe itself represents the aspiration
for the transcendence of the body – the spectator’s mind or soul can live in the cinema a spatio-temporal freedom,
impossible for he’s physical body. This migration dream reaches its peak with the digital technology, with notions
such as cyberspace, artificial intelligence and virtual reality, that constitutes the audiovisual in the conception of this
other space - ideally modeled as the wishes of its user and liveable by avatars, virtual projections and, utopically, by
the man’s very essence.
Keywords: Utopia, Expanded Cinema, Cyberspace, Early Cinema, Political Cinema
55
Cinema - Comunicação
Cinema - Communication
Cinéma - Communication
Cine - Comunicación
58
A construção do imaginário em deslocamento: um estudo da deslocografia no cinema
brasileiro
Maria Ignês Carlos Magno
Universidade Anhembi Morumbi, Brasil
Vicente Gosciola
Universidade Anhembi Morumbi, Brasil
Abstract
This study’s main objectives are to investigate how cinema represents societies and territories that are constructed
by the senses and desires of characters who experience continuous nomadism and are challenged to create new
communities as they move. For those who leave or return, their destinies become memory, nostalgia, loss, hopes,
achievements, associations, social networks and identity transfigurations spaces over time. The methodology was
based on theoretical studies on human dislocation and by Brazilian films approach, notably those released during
and after the period of film resumption, from 1995 on- that depict the displacement of leaving or coming back to the
arid. As a result, we observed that in these films, the narrative is produced by the displacement because it is where
the migrant, whenever going to new territory or returning to home territory, build their utopia or anti-utopia, imagining
it individually or collectively. Thus we come to the concept of Dislocography to identify the film narrative that is shown
as the characters are moving between and beyond their borders.
Keywords: Dislocography, Cinema, Narrative, Communication, Migration, Border
A linguagem audiovisual no cotidiano da escola

Aldenira Mota do Nascimento
Universidade Federal do Estado do Rio de Janeiro (UNIRIO), Brasil
Abstract
The project was designed and conducted by a teacher and a 7th grade group in a private middle class school in
Rio de Janeiro. The main goal was to stimulate the reflections on moral principles not only by discussing about it,
but also by using the audio-visual language. The group decided to make a research about themes that interest their
age group – adolescence and drugs – and then produce a film. The interaction with people who work producing
films was essential in order to have a good outcome. The group work was also important when planning and
organizing all the phases of the project. “What does the future hold?” is the product of this amazing experience, a
film selected to take part in the “Future Generation Exhibition” (2002), organized by “Espaço Unibanco”. The project
proves the appropriateness of using audiovisual language in school not only to think over the commercial TV, but
also to transform the society. It also became the starting point for the research that I intend to make on TV done by
adolescents and how the audiovisual language is inserted in school life.
Keywords: Audiovisual Language, Reflections on Moral Principles, School Life.
A revolução cultural de consumo na produção e distribuição de conteúdo audiovisual

Leonardo Pereira
FBAUP - Faculdade de Belas Artes da Universidade do Porto, Portugal
Abstract
In this article we analyze how new technologies and new media platforms are changing the way audiovisual content
is consumed, and how the shifting consumption habits are, consequently, changing the production and distribution of
audiovisual content. This change has opened new communication logics, we intend, here, to explore and understand.
These are based on the consumer’s new requirements and on the simultaneous use of multiple media platforms.
We, therefore, start by presenting how traditionally content’s distribution and consumption was made (single-
platform), we then identify some of the new and emerging media technologies and describe how they are changing
content’s distribution and consumption (multi-platform) and how they triggered a cultural change in the relationship
between consumers and Media.
Then, we state the need for a new audiovisual content’s production and distribution model, indicating as possibility
and reference the cross media production and distribution’s model - Transmedia Storytelling. Finally we analyze
specific cases of communication products that we consider fall into this classification or model.
Our aim is to try to demonstrate that, given the current distribution possibilities, given the new consumption patterns
and the new consumers’ powers and requirements in the current media ecosystem, it is more appropriate to use the
content’s production and distribution “transmediatic” model than the “unimediatic” one.
Keywords: Audiovisual, Production, Distribution, Transmedia, Comunication
59
Ana Carolina: o percurso de uma cineasta brasileira
Alberto da Silva
Université Rennes 2 e Université Paris 7, França
Abstract
The 1970s was a period of great upheaval in Brazil, a country shaken by the military government that came to power
in 1964. After a decade during which women were less involved in film production, they returned gradually, at the
end of the 1960’s, to creating films, focusing on the relationship between power and subjectivity. The director Ana
Carolina explored a radicalization of the cinematographic form and discourse. First with her acidic critique of the
patriarchal family in Mar de Rosas (Sea of Roses - 1977), and then later with a study of sexuality and the feminine
body in Das Tripas Coração (Heart and Guts - 1982), and then with the deconstruction of romantic love in Sonho
de valsa (Dream Waltz - 1987), Carolina built a trilogy in which the questions central to the evolution of western
societies since the 1970s interact. From our point of view, the career of this film-maker and the analysis of her
oeuvre reveal both the modernity of her cinematographic language and the contradictions brought to light between
the patriarchal tradition and Brazilian modernity, arriving finally at a ceaseless debate regarding the relationship
between power and subjectivity.
Keywords: Brazilian Cinema, Military Dictatorship, Gender Studies, Media Image, Representations
Análisis de la relación entre los medios y la violencia en diferentes contextos desde la

Teoría del Aprendizaje Observacional
Yolanda Troyano Rodríguez
Universidad de Sevilla, Espanha
Trinidad Núñez Dominguez
Lucia Sell Trujillo
Abstract
Human behaviour has attracted the interest of different disciplines. Art has always served as an instrument for
socialization. Art has contributed to transmit thoughts, emotions and life styles. All type of social topics are still
present in artistic expressions. Within different artistic expressions cinema and movies constitute a key instrument to
show social phenomena such as violence. From the social psychology sphere violence has been approached from
different theoretical frameworks. In this study we focus on the observational learning theory, proposed by Bandura,
to analyze violent models of behaviours in different settings such as school, family, labour, social and disability.
This variety of settings offers multiple situations where it could be possible to intervene in a preventive way through
guided viewing of films.
Keywords: Movies, Violence, Communication, Observational Learning Theory, Social Psychology
Animation and teaching/learning the mother tongue

Cristina Manuela Sá
Centro de Investigação Didáctica e Tecnologia na Formação de Formadores, Universidade de Aveiro,
Portugal
Abstract
Teaching/learning the mother tongue is a complex process and essential in several domains: success at school,
qualification for future professional performance and critical citizenship.
These aims demand its approach in a transversal way focusing in the development of competences such as the ones
related to communication (generally viewed as verbal communication and mainly related to reading and writing).
Nevertheless verbal communication relies also on nonverbal elements such as the image, be it animated or not.
And people need to know how to read them. It is common sense to believe that it is easier to understand a message
presented in images than the ones using words. However there are many adults that do not feel at ease when they
must read images.
Thus, animation may take a place in the classroom. It may be used as a resource to present several topics and motivate
the discussion and organize the work around them leading to the development of communicative competences in
the pupils. But it may also become the issue of the work done in the classroom, if one agrees that involving the pupils
in projects is a good way of thinning the distance between school and everyday life and developing competences
in them. A project built around animation does contribute to the development of communicative competences (both
verbal and non verbal) and it may also be important for the development of competences in autonomous and
teamwork, so important in modern society.
60
Keywords: Mother Tongue, Teaching/Learning Process, Transversal Approach, Competences, Animation
Audiovisual na educação de surdos

Autora: Ericler Oliveira Gutierrez
Universidade de Brasília, Brasil
Abstract
Este trabalho tem como finalidade investigar a elaboração de narrativas audiovisuais por jovens surdos inseridos
em contexto educacional. A interface entre Educação e Comunicação para essa minoria está baseada nas
produções audiovisuais que têm desconsiderado as especificidades culturais e linguísticas da comunidade surda.
Parte dessa produção cultural tem sido apenas adaptada por meio de legendas ou janelas de interpretação em
língua de sinais, mas pouca produção é de autoria de surdos. Assim, a pesquisa analisa as relações entre produção
audiovisual de surdos e a modalidade visuoespacial da língua de sinais. São analisados também aspectos da
educação, cultura e identidades surdas imbricados neste processo. Adotamos a pesquisa qualitativa e para
constituir o percurso investigativo selecionamos a metodologia da pesquisa-ação, com enfoque na criação de dados
visuais pelos participantes. O instrumento disparador é um curso de linguagem audiovisual, juntamente ao qual
inserimos instrumentos criados no decorrer da aprendizagem dos alunos devido ao caráter heurístico da pesquisa.
Os dados evidenciam a urgência em se desenvolver políticas de incentivo à realização audiovisual de alunos
surdos, considerando a relevância da visualidade desses sujeitos para a criação de novas estéticas audiovisuais.
Concluímos que a educação audiovisual tem papel fundamental ao proporcionar aos sujeitos surdos um espaço de
criação, fruição e empoderamento. Consideramos que este trabalho poderá colaborar com o desenvolvimento do
conhecimento na interface entre educação, comunicação e educação de surdos. Neste percurso, a maioria ouvinte
tem muito a aprender sobre acessibilidade na perspectiva da alteridade.
Keywords: Produção Audiovisual, Educação de Surdos, Língua de Sinais, Empoderamento
Cinema e juventude: o universo juvenil no cinema brasileiro contemporâneo

Scheilla Franca de Souza
Maria D’Ajuda Alomba Ribeiro
Abstract
This paper has as goal the discussion around the representation of the Young cultural universe on Brazilian
contemporary cinematography. In that way, the research investigates how the national movies establish a relation
with the young culture and identities nowadays. In one hand, the practices and experiences of young so as the
prospective of Youth feed the cinematographic production, and in the other hand, this phenomenon allows the
thinking around the Youth imaginary nowadays and its updates. In order to develop this issue, some points of
discussion are proposed around the scenario of the Brazilian productions. Furthermore, it’s relevant to pay more
attention in how the cinematographic language is articulated by these films. With this approach we can realize how
this cinema can bring in his discourse aspects of the Youth imaginary, been feed by him, and in the same time,
allowing to think about the young universe and its representation.
Keywords: Brazilian Contemporary Cinema, Youth, Representation, Language, Young Culture
61
The Cinema of Enunciation
John Sealey
University of Plymouth, England
Abstract
Practices of representation always implicate the positions from which we speak or write – the positions of enunciation’
(Stuart Hall 2003: 233-4).
The constant battle that the filmmaker has (and will always have) is to find the most appropriate way to reproduce
an idea, a thought process or meaning of an experience into a structure that we describe as a film.
Although individual, artistic approaches to film practice vary with each filmmaker, conflicts become apparent if we
attempt to discuss specifics in formulating a piece of work. The French filmmaker Robert Bresson recognised, that
cinematic processes are inextricably linked with – but separate from – other pure art forms such as photography,
sculpture and theatre. Bresson believed that the process of making films only highlights the difficulty in the task of
translating ideas. That in truth, the filmmaker is constantly searching for an unknown element that can only be found
within the practice itself.
Using examples of my own work, I will explore the ways in which the black subject and the black filmmaker can be
constructed and represented in narrative film; how the vestiges of ‘I’, (the enunciated self of my identity and cultural
background) situates itself within the work that I make.
I will argue, that facets of representation can exist concurrently in one person, as a series of constructs made up of
the personal, the enunciated and the external self. And, how this self-aware enunciated subject is always capable of
producing meaningful and powerful representations.
Keywords: Representation, Cinema, Black, Identity, Cultural
Cinema, arquitetura e pedagogia

Alcântara, Maria Daniela Rosário de
Figueiredo, Carlos Manuel de Almeida
Abstract
Creating Thematic Film Cycles as a pedagogical tool in the field of Architecture and Urbanism is a strategy aiming
to contribute to spectators/students understanding architectural/urban spaces in an existential and immersive
approach.
Although being the drawings fundamental to architecture, their separation from architecture’s cultural and historical
source may sometimes make the conceptualization that generated it unattainable to students.
Photography has been invaluable in communicating the architectural and urban object, due to the predominantly
visual character of architectural culture. It overcomes the lack of technical language knowledge and provides an
easier view of the architectural object.
The cinema can fulfil a space-time dynamic narrative, either from the standpoint of the space and form description or
of the narratives that can be created with it. The moving image can provide urban/architectural historical knowledge
through its narrative and set design.
An educational component should nevertheless consider the dramatic spatial and fictional construction nature of
film, which is always a manipulated representation of events and architectural spaces, with the aim of carrying out
a communication project.
The attraction and immersion with which the movie fascinates and leads the audience allow a more playful and
didactic approach, but this should be aware of the fictional space readings in filmmaking narratives. A deconstruction
of the filmic object is mandatory.
A Film Cycle has two phases: one scientific, investigating the very same cinematographic language departing from
chosen film scenes; and the other pedagogical, of the didactic procedures of Film Cycles within the processes of
teaching and learning.
Keywords: Cinema, Architecture, History, Education, Communication
62
Contar histórias com múltiplas tecnologias no contexto educacional
Josias Ricardo Hack
Universidade Federal de Santa Catarina, Brasil
Abstract
The article presents a brief historical background and theories about educational communication through the use
of audiovisual products. We reflect about challenges in classes’ context with digital technologies. The text aims
to propose a critical analysis and creative performance in the production of audiovisual teaching materials for the
dissemination of Science and Technology. Nowadays we know that the art of telling stories in digital format is a task
available to a wider audience due to the popularization of digital cameras, computers and phones. So, we intend
to reflect on theoretical and technical foundations to increase communication by the use of educational strategies
for collaborative learning with audiovisual products. The article is based in Communication, with a qualitative bias
of the study object, but also seeks references in other fields of academic study, such as Linguistics, Arts and
Education. This text will serve to stimulate discussion among experts about the specific features for enhanced use
of audiovisual products in educational context.
Keywords: Telling Histories, Cinema, Digital Technologies, Communication, Education
El cine como herramienta de intervención en la violencia de género

Trinidad Núñez Domínguez
Roberto Martínez Pecino
Abstract
The socializing power of the media is undoubtedly. Mass media contribute to construct social and personal identity
and influence people’s values and behaviours. The field of gender violence is not an exception to this influence. In
this line, the media can contribute to both promoting inequality and violence, or just the opposite, serving to promote
equality and fair behaviours. In this work we analyze different ways in which gender violence is presented at the
movies and how it can influence the socializing process. We also aim at presenting movies as a useful tool to raise
awareness about gender violence and as a tool that we can use for social intervention on this field.
Keywords: Movies, Gender Violence, Equality, Social Intervention, Media Influence
El cine y las representaciones de la infancia: una herramienta educativa para abordar la

violencia en las aulas
Lucia Sell Trujillo
Felicidad Loscertales Abril
Abstract
Violent and aggressive behavior in educational contexts is a pressing problem in contemporary society. These
behaviors question the role and validity of different layers of society, from the family to the educational system and its
institutions. They also touch upon collective representations of childhood as a period of innocence, and illustrate the
failure of the adult (embodied by the parents or teachers) to provide clear parameters to aid the socialization process
of the youth. The media in general, and movies in particular, play a role in raising concern and problematizing school
violence, but they also act as a powerful influence on young people’s attitudes and behaviors. The aim of this paper
is to deal with this duality by (i) analyzing the images of childhood at school in contemporary movies. These images
tend to follow a narrative pertaining to representations of the child as both the victim and the perpetrator of violence
and (ii) proposing the use of these movies as a mean to increase social awareness on issues of childhood violence,
and as powerful pedagogical tool in the classroom.
Keywords: Movies, Childhood Violence, Socialization, Social Influence, Collective Representations
63
Emigração, Identidade e Regresso(s) A visão cinematográfica dos percursos e dos
territórios
Fátima Velez de Castro
CEGOT – Centro de Estudos de Geografia e Ordenamento do Território - Universidade de Coimbra,
Portugal
Abstract
Emigration is a phenomenon that has scarred several generations of Portuguese throughout time, as well as the
origin territories, being a base for understanding the geo-social course(s) of communities at a local/regional scale.
From all migratory cycles, the second, which took place in the second half of the 20th century, corresponding to the
exit of population to other European countries, is still, due to its meaning and dimension, the one which remains intact
in collective memory. It is estimated that during the 1960s/1970s, about one million Portuguese have emigrated for
reasons related to meager life conditions of households (low salaries, poverty) but also due to the political repression
of the political regime, as well as the scourge of colonial war, a certain rite of passage in the life of young Portuguese,
which motivated many to leave the country.
Portuguese cinema has produced several films about these questions, which may be understood, in a restricted
perspective, with a strong educational and reflexive sense in Geography, especially in what the problematic of
emigration, identity and territory is concerned, associated to the dilemma of return, result of deterritorialization of
individuals confronted with the process of international migration. In this sense, the films “Aquele querido mês de
Agosto” by Miguel Gomes (2008), “Mortinho por chegar a casa” by Carlos Silva and George Sluizer (1996) and
“Ganhar a vida” by João Canijo (2001) will be discussed, in an integrated approach, presenting particular points of
view of relevance to the understanding of the analyzed migratory issue.
Keywords: Emigration, Identity, Territory, Portugal, Cinema
Entre o quadro negro e a tela branca: o papel do cinema na aula de história

Tiago Santos Reigada
Faculdade de Letras da Universidade do Porto / CITCEM, Portugal
Abstract
The relationship between Cinema and History is centenary; however, the transversal contribution between art and
curricular subject only began to be developed from last century seventies. This relationship embodies the encounter
between Art and Science in the way that enables new insights to the past in a branch of knowledge which is still
dominated by writing. In this sense, the approach to History through media shall be seen as an added value,
especially in the didactics, where the use of new technologies has been prevailing.
With this work we intend looking upon the bond between Cinema and History (as a curricular subject) from a
teaching’s point of view. For that purpose, we will start by analyzing the movie “Beneath Hill 60” (Jeremy Sims,
2010) fitting it in the History’s curricular program, in order to realize the potential of using film in the classroom and
the validity of this methodology for the acquisition of substantial knowledge in History. We will also try to understand
which skills cinema might develop in students as well as the advantages of its use in teaching.
The singularity of cinema as a communication phenomenon gives students new tools to develop global learning,
which gathers all forms of cultural expression and provides more attractive and motivational teaching practices for
students.
Keywords: History, Cinema, Teaching, Classroom
Esclarecimentos pragmáticos para processo comunicativo de legendação de filmes

Mariza de Fatima Reis
Abstract
This work aims at adding semiotic analyses concepts to translation studies focusing the film’s translator process
of communicating the language games of the narrative as long as investigating the communicative importance
of the contextualization reached by the subtitles of films in countries such as Portugal and Brazil. Considering
the translation models of the semiologic studies, which charges form and semantic fidelity to the original, and the
intersemiotic approach to film narrative’s interpretation, it will be presented the re-reading of Charles Sanders
Peirce by Vincent Colapietro, who proposes pragmatic explanations to translation researches which includes the
translator’s interpretant. As according to Peirce the function of translation is to facilitate the life of signs, couldn’t the
film subtitling process be considered a testimony of that? In order to analyse those concepts, it will be compared
some Forrest Gump’s scenes translated in Brazil and Portugal.
Keywords: Translation, Language Games, Fidelity, Pragmatic Explanations.

64
Espectador activo: comunicação audiovisual institucional num mundo de redes
participativas
Daniel Brandão
ID+ / Instituto Politécnico do Cávado e do Ave, Portugal
Heitor Alvelos
ID+ / Universidade do Porto / INESC Porto, Portugal
Nuno Martins
ID+ / Instituto Politécnico do Cávado e do Ave, Portugal
Abstract
Once delighted by the moving image advent as a new method of realistically presenting reality, the viewer has
been reposition himself towards the audiovisual contents he consumes, as he is given the opportunity to create and
share his own perspective of that reality. We are living in a new technological setting, governed mainly by factors of
interactivity, digital systems and technological convergence.
The research project that we will present in this paper focuses on the subject of participatory media and the way
cultural institutions are increasingly facing the inevitability of a profound revision of their traditional parameters of
unidirectional communication, given the increasing availability of tools for audiovisual production as well as the
diversity of networked communication contexts.
The Serralves Foundation with its Museum of Contemporary Art, in Porto, Portugal, was the subject of a first study
of an empirical nature: a series of audiovisual objects were developed, in order to generate material for analysis
and proposition. In this new stage of the project, our aim is to identify new procedures and practices that may be
effectively implemented within the institutional universe. We intend to propose efficient audiovisual communication
contexts, including the maximizing of the relationship between institutions and audiences regarding dimensions that
are traditionally outside the institutional radar: identity, narrative and affection.
The project is currently in the process of surveying and categorization, with the aim of producing a map of different
vocations and positions of the various institutions in regards to the aforementioned issues, which require participatory
communication.
Keywords: Audiences, Participatory Media, Cultural Institutions
Identidade corporativa e o videografismo para telejornais

Arnaldo César Duarte
Rede Minas de Televisão, Brasil
Abstract
This article analysis the visual identities designed for television news at commercial TV, especially in Brazil, and its
influence in producing models. The objective is to discuss all the creative process and implementation of the new
corporate identity of the news programs in a public television station, Rede Minas, with their new motion graphics
and sets design.
Generally the technology and the new digital applications just released drive the design conception, resulting in cold
and stereotyped solutions. The projects are anchored, almost all time, in two type of graphical design - metallic three-
dimensional symbols reflecting the spectrum of colors of the rainbow or phonograms applied in circular shapes.
It was necessary to establish parameters of competition analysis in the creative process, in order to find a suitable
proposal to a specific situation. And also to find solutions for future needs of the public channel, in the same visual
identity. There are many similar examples of contents and design concepts in private channels.
Our approach does not consider a project of identity superior than another. Nevertheless, Rede Minas has a
differentiated positioning in the market where the predatory pursuit goals overlap with the audience. The main
purpose of this work is to clarify these questions, inviting to reflect on the visual identity standard, that are said to be
universal by commercial television. The goal is to make the viewer understand the message through the new visual
elements.
keywords: Motion Graphics, Television, News, Visual Identity, Public Television
65
La mujer incompleta: la imagen de la mujer en el ámbito universitario a través del cine
Lucia Sell Trujillo
Universidad de Sevilla, España
Abstract
Representations of female figures in the media portray images coherent with collective views and understanding
of what means to be a woman. The media works as a mediator in meaning making; it translates into a format
that perpetuates discursive power structures. Media studies about women presence have traditionally focus on
analysis of pervading stereotypes which presented roles that fulfilled an externally driven criteria of success, from
archetypical images to do with virginal purity to objectified sexual beings. This gave way to portrayals of women
in more progressive professional roles, which still adapted discourses of success made to fit a comprehensive
male agenda. Postmodernist understandings of identities, positioned within multiple discourses, opened up new
opportunities of representing women; it allowed the possibility of creating event-oriented stories where ‘things’
happened to central female characters. The portrayal of women within the university structure exemplifies these
changes. It locates women as individual historical subjects, but it also displays some shortcomings. With the
provision of an alternative image, the bluestocking, the woman is endowed with intellectual capacities despite her
aseptic sexual image. In addition, an analysis on how the narratives are constructed provides a view of a woman
unable to fulfil her potential. This incomplete woman is perpetually located within the tension of either achieving
intellectual accomplishment or fulfilment in her private sphere. Success in one domain is dutifully punished with
failure in the other; it introduces a world made of incompatible options and a narrative where an incomplete being is
denied gratification and completion.
Keywords: Women Studies, Gender, Media Analysis, Discourse Analysis, Postmodernism
Movíes - mostra de vídeos escolares

Paulo Jorge dos Reis Nobre Rodrigues
Escola Básica dos 2º e 3º ciclos João da Rosa, Olhão, Faro, Algarve, Portugal
Abstract
The event Movíes - School Video show, pivoted in the Basic School 2nd and 3rd cycles João da Rosa in Olhão,
primarily aims to show, promote and reward the videos made by students of basic and secondary schools in the
Algarve region. It should be noted that the videos screened on the show are performed in schools, either in the
discipline of Cinema, in the program Juventude-Cinema-Escola, cinema school clubs or multimedia projects or
regional / national within the moving image. The show also aims to encourage moments of sharing experiences and
knowledge, such as lectures and workshops, among the participants. The event is coordinated by teacher Paulo
Rodrigues with the support of some colleagues, aided by a team of students in seventh, eighth and ninth grade,
highly motivated for the activities. At the beginning of each calendar year, information is sent on to all schools in the
region. The videos are organized into a DVD that will then be delivered to participating schools, which contains also
the results of the workshops during the event.
On the day of the show, the students promote the workshops for others students, they view the videos and receive
their video awards, and there are speeches and moments of simple interaction among participants. The results
achieved in the two shows already made, were very positive about the expectations, since it is very important for
students to see recognized, publicly, their videos, a fator that elevates them much self-esteem.
Keywords: Teaching, Cinema, School Videos
66
O cinema como mediador do diálogo no processo criativo de produção audiovisual
dentro da escola
Aldenira Mota do Nascimento
Universidade Federal do Estado do Rio de Janeiro (UNIRIO), Brasil
Abstract
This study aims at analyzing four productions and audiovisual processes carried out at school, by children aged 8 to
15, Elementary School students at a private institution located in Rio de Janeiro (BR). The present research is based
on readings and debates promoted by a group named “Cinema and children’s and youngsters’narratives”, which
is coordinated by professor Adriana Hoffmann Fernandes at UNIRIO Post Graduation Program. It also includes
reflections and readings held at the Education and Cinema course, that takes place in the same university and is
taught by the same professor. The data was collected in different occasions and several participants took part in
the research. These activities are a part of the author’s experience, who has started her MA in the current year at
UNIRIO. Through the analysis of these productions, the present research intends to show that the interaction with
cinema is connected to a creative process promoted by the production of videos. The results also point out that
cinema can be perceived as a mediator of the dialogue with students throughout the production process. This study
aims at presenting how cinema played an active role in the pupils’ experiences. Furthermore, the conditions under
which this dialogue took place as well as the negotiations, difficulties and learning processes shall be accounted for
(BERGALA, 2008).
Keywords: Cinema, Education, Creative Act, Audiovisual, School Routine
O cinema e os jovens: reflexões de uma pesquisa

Adriana Hoffmann Fernandes
Universidade Federal do Estado do Rio de Janeiro, Brasil
Pedro Benjamim Garcia
Universidade Católica de Petrópolis, Brasil
Abstract
We have noticed how, in contemporary societies the senses are increasingly organized based on imagery. Imagery
that has become the great mediator between subject and culture. Indeed, audiovisual imagery not only guarantees
forms of socialization and of the transmission of information but are also part of our socio-cultural practices. We
are living through an unprecedented audio-visualization of culture and as a result children and young adults are
experiencing a differential relationship to knowledge because of its connection to imagery in its process of formation.
We agree that it is necessary to understand the complexity of the changes that language, the written word and
narrative form are undergoing, realizing that imagery is to youth an indispensable part of its’ culture. We, therefore,
began a research, which has a middle school as one of its fields of investigation; the students are between 14 and
17 years of age. The kids at this school kept to the requirements of the course or be it - watch a movie weekly. Our
aim is to observe how cinema constitutes a part of these kids’ scholastic formation, through our observation of the
screenings in the school and through interviews with the youthful participants we can formulate an initial analysis of
some of the senses they construe through their relationship to film.
Keywords: Movies, Youth Formation
67
Product placement within teen movies as a creativity booster
Francesca Masoero
Dipartimento di Musica e Spettacolo | Università degli studi di Bologna, Italy
Abstract
My analysis will focus on how teenagers react to brands, products and suggestions that marketers and corporations
plug into the media they watch. These reactions are sometimes reduced to a minimum. But sometimes a bigger
creative and cultural involvement might be attached and adolescents are pushed to create something new and
personal out of the emotional impact the movie has had on him/her (Jenkins, 2006a).
My main hypothesis is that product placement, if done in a savvy way, can transform products into cultural objects
and memes that all teens will want not only to possess, but to customize, so to make them more unique and special.
First I will demonstrate that by placing a product within teen media is a consequence of two separate movements: 1)
the attempt to answer and relate to the viewers pre-existent cultural code; 2) the impulse to modify and improve this
same code. In addition to this, I will also present how the meaning and use of product placement can be stretched
to include specific cultural and social behaviors that are transferred from a specific fictional environment, into the
viewers’ real lives. This thesis will be sustained through a few examples, based on some significant teen movie
franchises of the last few years.
The results obtained through this analysis will demonstrate how product placement can be considered as a link
between young consumers, media, brands and popular culture.
Keywords: Product Placement, Teenagers, Consumers, Creativity, Pop Culture
Project- arte cinematográfica e psicologia

Sofia Rodrigues
Faculdade de Psicologia e Ciências da Educação da Universidade do Porto, Portugal
Joaquim Luís Coimbra
Faculdade de Psicologia e Ciências da Educação da Universidade do Porto, Portugal
Abstract
The study focuses the relationship established between a psychological subject and an object of Art. In the light
of Kegan’s (1982:1995) development model, the study focuses on understanding the processes through a person,
according to his/her psychological structure, attributes artistic meaning to a cinematographic object.
The major innovation of the study was to investigate which psychological processes are developed by the interaction
of the subject with the object of art and whether they could be revealing of a developmental structure according to
Kegan’s (1982,1995) theoretical perspective.
This empirical study was carried out using longitudinal designs, with two separate data collecting moments: Time I
in 2006 and Time II in 2008. Data analysis was made by using a predominantly qualitative methodology, analyzing
the subjects narrative with regard to: thematic content, psychological processes and developmental structure.
The results reveal that meaning making was achieved by different psychological processes, according to each
subject psychological structure. Art is inevitably related with the human capacity of meaning making. The results
suggest that art, namely cinematographic art, is an effective instrument in representing and demonstrating the
functioning of human structures and psychological processes. Finally, there are proposals for future research and
implications for a psychological intervention that will be discussed.
Keywords: Film Art, Meaning-making, Developmental Structure, Psychological Processes, Qualitative Methodology
68
Publicité et promotion des acteurs: Le cas de la France
Adama Ouédraogo
Laboratoire de Recherche Audiovisuelle (LARA)
ESAV-Université de Toulouse 2, France
Abstract
« L’esprit voit et entend, le reste est sourd et muet.» (Coren &Ward)
Advertising and promotion of film actors: the case of France
Young players have a real need to show their talents in order to have appeal to fi lmmakers. For this television
offers them known through commercials. Patrick Lelay1 said bluntly that “the purpose of the television is not to offer
programs to viewers but to target advertisers and to ensure that viewers remain before the program”. This vision
mercantile French television offers the entire open field in the treatment of actors. Many companies are focusing
on an actor for the realization of all their commercials, which in Pavlov’s theory2 becomes the icon of products in
the eyes of spectators. This “depersonalization” is not without damage to the fi lm career dream by them and even
for some other advertising contracts. How is the process through which actors advertising spend in the French
channels? And how can we protect the players against this phenomenon? Here are some ideas that we propose for
reflection make television a crucible of talent for film rather than it’s opposite.
1-Patrick Lelay is former CEO of Tf1. Tf1 State television, the largest chain of France
2- Reactions acquired by learning and habit become reflexes when the brain makes the connections between
stimulus (actor) and the action that follows.
Keywords: Advertising, Promotion, Film, Actors, France
Público infanto-juvenil e a leitura de imagens (em movimento)

Rita Menezes
Faculdade de Letras da Universidade de Coimbra, Portugal
Abstract
Children have always been and will always be considered a “special” audience; but what defines that audience
and what is there so special about them? Nowadays, mastering the digital is a skill as essential as mastering the
mother tongue because children learn “to speak digital as a mother tongue” (cf. Robinson, 2009:18), and it is vital
to understand how that audience’s relationship between the movies and new media is built and takes form, namely
what skills and tools they have to interpret and to extract meanings from multimodal texts – texts that build a
message through visual, aural, spacial, gestural and linguistic modes.
While presenting the importance of the perception of multimodality and showing how the different modesin a movie
interact, we must connectthis audience’s previous knowledge (consciously acquired or nor) and the awarenessof
learning what is new.If we understand which are the basic skills to decode a movie –a multimodal text –, how
they are learnt and how they grow, we might be able to provide this audience means of interpreting the different
modesand of building meanings.
If children understand filmic language, apart from having access to several layers ofmeaningin a movie, they might
enlarge their knowledge and create new literacies.
Keywords: Children, Movies, Literacy, Learning, Multimodality
69
Reportagem audiovisual - planificação de reportagem para um canal ornitológico
Hugo da Silva Valentim
Telmo Silva
Abstract
The audiovisual appear at the end of the 19th century and one of its innovations was at the journalistic level, and this
is the time when come out the first video reports. The video report is thus an asset, because it shows the full facts
reported. The audiovisual broadcast report on the Internet, has concerns about the level of content, aesthetics and
form. The Internet is a powerful way of communication, where you can publish, view and get all kinds of information
content. The audiovisual media reports directed to the Internet are increasingly used to provide users with an
“escape” from other conventional supports. Especially when it focuses on a single theme, such as ornithology. The
ornithology is a branch belonging to biology, which aims to study birds. This study examines every detail of a bird,
the origins, species, form, among others.
The Ornithology is the basic theme of this project, which aims to disseminate, through reporting all events,
documentaries and activities undertaken in this field nationally and internationally. This is an innovative project,
the first of its kind in all world. For this, we have created a YouTube channel, which is the largest platform for
the dissemination of content in broadcasting, which serves to store and disseminate the reports. Social networks
are also used as a means of information dissemination. Therefore, this article has the objective to present the
innovations of audiovisual stories, to be broadcast on the Internet, all about ornithology.
Keywords: Audiovisual, Audiovisual Report, Ornithology, Ornithological Channel, Web
The contribution of Melina Mercouri, through her movies and her various
accomplishments in the cultural and political field, in the communicative promotion of
Greece in the International field
Konstantinos Dilzas
National and Kapodistrian University of Athens, Greece
Abstract
This paper investigates on the contribution of Melina Mercouri through her movies and the recognisability, in the
communicative promotion of Greece internationally.
Melina Mercouri constitutes an icon for Greece having been characterized as the “last Greek Goddess”. She became
famous abroad through her career as cinema actress in the ’50s entering the pantheon of the greatest actresses of
the time. The movie “Stella” arrived as the first movie that introduced Greek cinema abroad, while the global audience
met the “Greek element” through the movie “Never_on_Sunday”, establishing Greece as a tourist destination and
initiating a frenzy that the foreign press called as “Hellinitis”. Melina Mercouri used her recognisability achieved
from the movie films to fight against dictatorship and made her vision of bringing back the Parthenon sculptures
as Minister of Culture the work of her life. This paper is based on a frame consisting of five study-axes. More than
3000 international clippings (years 1955-2010) were examined and three exclusive interviews were taken from
D.Vachlioti, M.Zacharias and S.Mercouris.The audio-visual material along with the parts of the paper are developed
in social networking means (Facebook group) towards contributing to the material of a course on a related topic in
educational institution.
Keywords: Cinema, Pedagogy, Communication, Social internet
70
The video clip and the rhythm-image of television
Felipe Muanis
Abstract
Starting from a specific discussion on the particularities of sound and its relation with image in film and in video –
especially on television – and from texts by Arlindo Machado, Michel Chion and Ángel Rodriguéz, we reach the issue of
synchrony and rhythm as a fundamental characteristic that links time and sound on television. Rhythm is important to
define television time, whether it is a narrative audiovisual product, based on words; or non-narrative in music. Through
a brief analysis of the constitution of synchronicity between sound and image in the video clip, this paper intends to show
the importance of sound for television non-narrative products.
What is proposed in the paper is the characterization of television image being undissociable from sound. Thus, based on
Gilles Deleuze’s concepts of movement-image and time-image, we come to the conclusion that television is preferably
constituted by rhythm-images.
Keywords: Video-clip , Synchronicity, Non-narrative, Rhythm-image, Sound
Young consumers’ experience and perception of product placement in movies and its
implications
Fanny Fong Yee Chan
Kent Business School, The University of Kent, UK
Dan Petrovici
Ben Lowe
Abstract
In the age of media fragmentation and consumer sophistication, product placement has become a favourable tactic
for advertisers to increase brand awareness. As an important component of global communication, it has rarely
been explored in a cross-cultural context. It is likely that consumers from different cultures could have perceived and
interpreted this marketing strategy differently. The current study explores audiences’ experience and perceptions
of product placement in movies across two distinctive cultures. A series of in-depth interviews were conducted, the
sample contains sixteen audiences from the United Kingdom (UK) and sixteen from Hong Kong (HK). All of them are
in the age group of 18-34 who are the primary consumers of movies. Specifically the five aspects were explored: (1)
young consumers’ movie consumption habit and their understanding/experience about product placement; (2) their
perception of different execution styles; (3) their influence by product placement if any; (4) their views towards product
placement and advertising in general; and (5) their regulatory and ethical concerns of product placement. Results
indicate both convergence and divergence in the interpretation of this emerging marketing communication strategy.
Audience in general prefer product placement over traditional advertising. The UK audiences are relatively more positive
as compared to their HK counterparts. Both samples believe that a wide range of products are suitable for placing in
movies. They do not mind filmmakers incorporating brands for commercial purpose but they, especially the HK sample,
dislike placements with strong selling intention. The results suggest that cultural adaption is needed in making the
implicit promotion even more implicit.
Keywords: Hong Kong, Marketing Communication, Movies, Product Placement, UK

Cinema - Tecnologia
Cinema - Technology
Cinéma - Technologie
Cine - Tecnología
74
A representação de personagens virtuais: como a tecnologia obriga à criação de estilos
e estéticas interdisciplinares na animação contemporânea
Mota Teixeira, Pedro
Department of Design,School of Technology,
Polytechnic Institute of Cávado and Ave, Portugal
LIPP - Image Lab, Production and Perception
Tavares, Paula
Department of Design, School of Technology
Félix, Maria João
Department of Design, School of Technology
Abstract
The evolution of computer animation represents one of the most relevant and revolutionary aspects in the rise of
contemporary digital visual culture (Darlew, 2000), in particular, phenomena such as cinema “spectacular “ (Ibidem)
and videogames.
This article analyzes the characteristics of this “culture of simulation” (Turkle, 1995:20) relating the multidisciplinary
and spectrum of technical and stylistic choices to the dimension of virtual characters acting. The result of these hybrid
mixtures and computerized human motion capture techniques - called virtual cinema, universal capture, motion
capture, etc. - consists mainly on the sophistication of “rotoscoping”, as a new interpretation and appropriation of
the captured image. This human motion capture technology, used largely by cinema and digital games, is one of the
reasons why the authenticity of the animation is sometimes questioned. It is in the field of 3D computer animation
visual that this change is more significant, appearing regularly innovative techniques of image manipulation and
“hyper-cinema” (Lamarre, 2006: 31) character’s control with deeper sense of emotions. This shift in the culture that
Manovich (2006: 27) calls “photo-GRAPHICS” - and Mulvey (2007) argue that creates a new form of possessive
relationship with the viewer, in that it can analyze in detail the image, it can acquire it and modify it - is one of the
most important aspects in the rise of Cubbit’s (2007) “cinema of attraction”. This article delves intrinsically into the
analyze of virtual character animation-particularly in the field of 3D computer animation and human digital acting.
Keywords: Animation, Character, Cinema, Computer, Culture
75
A study on aesthetic characteristics for cases of space expansion using hologram
Timothy Yoonsuk Lee
Hongik University Graduate School of Film and Digital Media, Seoul, Korea
Jinhwan Yu
Hongik University Graduate School of Meta Design, Seoul, Korea
Joonhyoup Lee
Hongik University Graduate School of Film and Digital Media, Seoul, Korea
Abstract
In the digital era, human beings are living on the borderline, swaying back and forth in between the virtual world
and the reality. Moreover, cutting edge digital technology that is advancing is making the borderline even less clear
since the virtual world is made increasingly like the reality and vice versa. Hologram as new image display is being
used in diverse areas such as news, product PR, stage and others. Since the usage increased, it is now necessary
to discuss the ways to use it effectively based on the analysis of the media.
Until now, Hologram was analyzed mostly from the mechanical aspect. While mechanical aspect is continuing to
grow through considerable discussions, analysis from the Hologram’s aesthetic aspect is still very lacking. Hologram
that has digital characteristics such as interactivity, networkability and others needs to be analyzed using a method
that is different from the one used for the traditional medias due to the set of unique characteristics. Towards this
end, it is necessary to discuss which aesthetic theory is needed for the analysis of Hologram based on the traditional
asthetics related theories.
Moreover, Hologram transforms space attributes depending on which image is shown by the image that is developed
through the media. These characteristics need to be assessed using a different kind of concept from the meaning
that the existing space has. Moreover, discussion on the aesthetic aspect is necessary through the understanding
of the Hologram.
The author does not merely perceive Hologram as a new technology. Instead, the author goes steps further to
present its possibility as a new art field. Thus, Hologram is perceived as a new media and the image developed by
it is analyzed from the aesthetics aspect.
Keywords: Expanded Space, Hologram, Hypermediacy, Immediacy, Media Aesthetics
A Study on Media Façades in Seoul Cityscapes

Timothy Yoonsuk Lee
Hongik University, Seoul, Korea
Yoojin Chung
Hongik University, Seoul, Korea
Abstract
With the advance of digital technology, many areas are utilizing digital technology. One of them is Media façade.
In combination with Media, advanced digital technology has enabled the addition of communication function for
message delivery to the existing functions of façade as the surface dividing the inside and outside of a building.
In the Cityscapess of Seoul, Media façades are spreading like a fashion as a new architectural trend in conjunction
with companies’ marketing strategies for higher competitiveness through differentiation from other buildings and
consumers’ (the masses’) desire for new spectacles. Media façades are used in large commercial spaces such as
Shinsegae and Galleria, and office buildings such as GS Tower, Kumho Asiana Building and Seoul Square.
Media façades in the Cityscapes areas of Seoul are very important in terms of cityscape because they change the
landscape of the city and give a new urban image.
Considering the publicness of Media façades and their influence as a new communication means, it is keenly
required to study cases of Media façades systematically and analytically, but there have been few scientific studies.
Currently Korea is prohibiting commercial advertisements on façades by law. Accordingly, most of Media façades
express the identities of companies in the form of arts rather than direct commercial advertisements. For this reason,
it is quite interesting to investigate Media façades in the Cityscapess of Seoul. According to their purpose, spaces
are largely divided into business spaces, commercial spaces, medical spaces, and public spaces. Depending on the
position and purpose of space, messages communicated on Media façades and their effects may be different. Thus,
this study purposed to examine the influence of Media façades on the cityscape of Seoul by analyzing messages
and their effects according to the location and purpose of space.
Keywords: Media Façade, Seoul, Cityscapes, Media Art, Communication
76
A vida (complexa) de um tradutor para legendagem. Uma abordagem à legendagem em
Portugal
Mónica Paiva
Abstract
Subtitling in countries like Spain or England is something recent that only came to life thanks to DVD and other
digital formats. Making use of my experience as a “subtitler” for three years, I intend to shed some light on how the
subtitling business works in Portugal.
This paper wishes to present some ideas on how everything is done and prove that this profession is not as
straightforward as most people think. Not only will notions on the process of translating and subtitling be introduced,
but also more latent issues related to how work is distributed among translators, due dates and, most important
considering the current economic situation, how the service is paid.
By presenting some practical examples of subtitling, this paper wishes to clarify that subtitling is a complex and
rather peculiar process with distinct requirements and specifications. Questions like “What is a subtitle?” or “What
is more important? The words or the message?” are always on the mind of the one who translates and will also be
analyzed.
Furthermore, one of the objectives of this paper will also be to point out the differences between translation and
translation for subtitling.
Keywords: Subtitling, Subtitle, Translation, Communication, Message
Animação livre: uma proposta para uma pipeline e fluxo de trabalho baseados em
software livre
Nelson A. F. Gonçalves
Escola Superior de Educação de Viseu e CI&DETS, Portugal
Maria P. Figueiredo
Escola Superior de Educação de Viseu e CI&DETS, Portugal
Abstract
OpenLab ESEV is a project of the Polytechnic Institute of Viseu’s School of Education that aims to promote, foster
and support the use of Free/Libre and Open Source Software (F/LOSS), Free file formats and more flexible copyright
licenses for creative and educational purposes. This paper presents a description and an evaluation of the pipeline
and workflow implemented by OpenLab ESEV to support students’ animation work and projects. The presented
detailed view and evaluation might be of interest to schools and studios, teachers and independent animators
interested in exploring the potential of Free Software alternatives to the standard proprietary software pipeline for
animation and media production.
The first part of the paper presents information about the workflow and pipeline. The description includes a diagram
portraying the workflow, software packages used for different tasks, adopted file formats and chosen copyright
licenses. It provides a complete view of the pipeline and workflow, from pre-production to post-production, from the
presentation of the initial idea to the distribution of the final work, using finished and ongoing students’ works as real
case scenarios.
The second part presents a first draft of an ongoing analysis and evaluation of the Strengths, Weaknesses,
Opportunities and Threats (SWOT) of the pipeline. We’ll share and discuss the results of a SWOT analysis carried
out within the project coordination team and students involved with the project as users of the pipeline.
Keywords: Free Software, Open Source, Animation, Higher education, Workflow
77
Changing Cinematic Spaces
Christine White
Nottingham Trent University, United Kingdom
Abstract
The shifting narrative spaces of screens has enabled a development of the awareness of the cinematic which cross a
number of fields from traditional exhibition houses, through to projection art and immersive experiences. This paper
explores the different relationships of screens and audiences across a variety of screen platforms. Questioning
when a screen experience is beyond cinema. This work develops out of explorations of Games in cinema houses,
immersive experiences for teaching, and lighting design for live events that explore screened imagery for cinematic
effect. Entertainment environments are applying technology to the creative contexts of cinematic techniques. These
investigations into the spectacle of the digital in screened and cinematic movement are now considered to be part
of all entertainment experiences Is this a new poetic? Some topics this paper hopes to cover are: • Transitioning
the virtual and real • Power to the Pixel and the ‘uncanny valley’ • Digital Scenography for live performance • Digital
classroom environments • Cinema theatre as a game play space and new audience.
Keywords: Cinema, 1st -4th Screen, Performance
Cinema interativo: novas possibilidades de ambientes imersivos

Natália Aly
Pontifícia Universidade Católica de São Paulo, Brasil
Abstract
The text “Interactive Cinema: new possibilities for immersive environments” synthesizes the research that is being
held by me for a master degree in the post-graduate program in Technologies of Intelligence Technology and Digital
Design - PUC-SP. The research aims to understand how the emergence of digital technology inevitably interferes
in the cinematic language itself, not only in its esthetics. With the advent of the world of binary numbers (Codex of
computable information), and the possibility of scanning the image, what was once matter, is then dematerialized,
and an infinite of creative possibilities arise, including experiences in film and its processing, namel, the experience
of expanded cinema). Construction of new forms of narrative, new ways to interact with the audience of the film,
a new time and space, everything can change. The text is based on the theories of authors such as Peter Weibel,
Jeffrey Shaw and Peter Lunenfeld.
Keywords: Cinema, New Media, Interaction, Technology, Immersive Environments
El documental inmersivo. una aproximación

Luis Antonio Gutiérrez Cabrero
Universidad Politécnica de Madrid, España
Marta Rodríguez Fernández
Universidad Politécnica de Madrid, España
Abstract
The easy immersion in the world of the fleeting image of the film favors the immediate perception and the rapid
internalization of film language. This leads the audience to understand the narrative film despite the disruptions of
continuous narrative. When the first directors edited in parallel, actions that occurring in different places but at the
same time -parallel editing-, they created feelings of anxiety or fear. This new way of describing inaugurated the
cinema, and later it would be transformed in the usual way of watching the world around us.
About cinema, it must refer mainly to Proto-Cinema, which most of the times had more to see with science,
technology or fair spectacle, than with the film language kidnapped by literature shortly after its birth. In this sense it
is appropriate to mention Eadweard Muybridge as a reference. His exact and explicit exercises -that he conducted
in the United States with photography cameras and horses- are still holding the fascination that causes the visual
surprise.
Inhabiting the image is one of the more attractive alternatives than it can handle since that the human consciousness
have the conviction of that the world is limited.
We have compared -in virtual space and real time- a similar route along Streets of Madrid and Paris. These streets
run parallel to an underground line in both cities. The result of this image immersion is experienced thanks to the
installation of two immersion booths –ephemeral and closed spaces-, in order to suggest the experience of “an
urban landscape in transit”.
Our Communication will show the theoretical and practical aspects of the staging of this video installation.
Keywords: Immersive, Proto-cinema, Simultaneously, Installation, Transition
78
EVTux
José Alberto Rodrigues
António Moreira
Abstract
EVTux is a Linux distribution that is based on the research work we have developed regarding the integration of
digital tools in the disciplinary area of Visual Arts and Technology Education, titled “Web, Web 2.0 Tools and Free
Software in EVT”. After fifteen months of study and project development carried out by a group of around fifty
collaborators, all teachers of this curricular subject, nearly four hundred digital tools that can be used in the context
of Visual Arts and Technology Education were listed. On completion of the listing, cataloging and categorization of
the tools was conducted taking into consideration the contents and exploration areas of the subject area.
EVTux offers all the applications for Linux already preinstalled. The digital tools that require no installation and run
directly from the Web are also integrated in the browser. In addition, there are more than three hundred manuals for
assistance in the use of these tools.
Available in dual boot or live version, EVTux presents itself as a powerful resource that aggregates all the work of
EVTdigital and may become the tool of reference for teachers of this curricular area for use in the context of their
classrooms.
Keywords: Curriculum, Education, Visual Arts and Technology Education, Evtdigital, Evtux
Instalações Animadas: busca pela potencialização da animação como meio artístico

Christine Veras
UFMG, Brasil
Abstract
The animation has an unlimited potential of visual representation that cannot be tied only to the model of the
industrial narrative film. As experience for an expanded cinema it has unexplored processes and may provide a
differentiated experience to the spectator.
We can notice on the history of humanity a latent need for the registry of movement, from prehistory until the modern
art.
The called pre-cinema period was characterized by the creative engines that use moving image, among which are
the magic lantern, zoetrope, phenakistoscope, praxinoscope, thaumatrope and other variations of optical toys and
lights spectacles. Like cinema, animation, despite the different directions it could have followed, walked toward
marketing trends, being established later as a major industry.
Technology was developed and techniques were refined with the goal to accelerate the production process of an
animation, taking into account the needs of a growing and increasingly demanding market. Computer graphics
crowned this trend transforming for once the process of making an animation.
The technological revolution triggered by the digital eventually transformed the film industry and the relationship
between man and technology.
Therefore, we seek to analyze contemporary installations that use the animation as material process, allied directly
or not to digital technology. By material process we refer to what is palpable and can be played, manipulated or
triggered through the interaction of the viewer.
We search the reflection about alternative possibilities of the use of animation as a process of empowerment for an
expanded cinema, through animated installations.
Keywords: Animation, Cinema, Animated Installations, Optical Toys, Technology.
79
Le costume de cinéma et le passage du noir et blanc à la couleur
Sylvie Perault
Institut d’études théâtrales de Paris 3, France
Abstract
Generalization of the use of color instead of black and white at the end of 1950s change the technical requirements
of shots. Costume then conceived in value by the creators are now designed in colors. This causes an internal
revolution in the way that has not managed to spectators or some “specialists” in the costume. In the attempts of
colorization of black and white films so-called cults in France, this not taken into account is often a source of Visual
surprise. Contrast, colour and costumes will have a meaning quite when it is saturated, for example in “Umbrellas
of Cherbourg” (Demy, 1964). It therefore mean that we have moved from one language to another type and to
distinguish the similarities and differences between values and colors. In this framework, the costume of cinema
becomes a writing of the body, physical and social. We will show how the costume designers have lived this transition,
internal revolution (ethnologicals investigations) and that in the current Museum conservation, the costume can be
interpreted very distant from the original project when for various reasons the transition is not known.
Keywords: Costume, Black and White, Color Movie, Values, Reception
Narrativa audiovisual para dispositivos móveis num universo transmidiático

Edvaldo Acir
Unicamp, Brasil
Abstract
This article intends to conduct an analysis of the audiovisual language for mobile devices in a transmedia world
in order to understand the requirements in its creation and development. To this end, we employed methods
such as observation and literature review focused on reflection on the mobile phone as a device to audiovisual
production and distribution, analysis of data collected from publications and websites dedicated to this market as
well as theoretical references on the discipline of visual material. The research was also gathered from interviews
with researchers, professionals from the telecommunications, artists who use the phone as support and festival
organizers on the subject. As a result of this investigation, we formulated a set of conclusions and reflections on
communicative efficacy of audiovisual materials developed under a production model aimed at mobile devices and
operating within a logic of complementarily in the face of a publication on the TV and the web. As a study case we
choose the Brazilian TV show “The Final Punishment”, a fiction series launched in 2009 by the Oi channel to pay
TV, Internet and Mobile.
Keywords: Transmedia Storytelling, Contemporary Communication, Media Convergence, Audiovisual Culture,

Mobile Digital Media
Os webdocumentários e as novas possibilidades da narrativa documental

Marcelo Bauer
Cross Content, Brasil
Abstract
The web documentary is a new format for telling stories on the internet that uses a combination of different standard
formats: text, audio, video, photos, graphs and tables. To an extent, it draws on the language created for cinema
and television and attempts to adapt it to the online environment. Many projects allow the audience to interact and
participate, and they intentionally break with the linear structure of the narrative, since the viewer can choose what
to watch and in what order.
This paper analyzes some of the web documentaries produced recently in two countries, Canada and France,
selected for their varied production and because they have companies and institutions interested in the new format.
Drawing on examples and on the bibliography, we analyze to what extent the web documentary actually presents
new perspectives in terms of documentary narrative. In particular, we discuss three points:
1) How the ability of the viewer to interact with the multimedia production – through the command interface and the
freedom to choose what content to watch and in what order – alters the documentary narrative.
2) How the possibility of aggregating user generated content sets web documentaries apart from documentaries
produced for television or cinema, in terms of narrative.
3) To what extent the use of graphs, tables, texts and still photos actually represents an evolution in narrative terms.
Keywords: Web documentary, Documentary, Transmedia, Technology, Multimedia.
80
Plaza multimedial
Cristina Palmese
paisajesensorial.com, España
José Luis Carles
paisajesensorial.com, España
Abstract
The work proposes a virtual walk trough public spaces in a continuous dialogue between the audiovisual language
and everyday situations, trying to capture the character of places, its everyday sensory identity. Specifically this
audiovisual includes a series of everyday and basic sensory elements in a series of public spaces (historic places) of
the Madrid Region (Comunidad de Madrid). The creative propose is linked to the interest of explore the possibilities
of visual language as a tool for the study of sensible qualities of a place. This implies the need to assembly audio
and video fragments of reality as be perceived, eliminating as much as possible the constraints arising from the
structures of spoken speech. We assembled fragments of various lengths in a succession of instants that do not
follow the logic of the conventional documentary film, seeking a temporary and distinct perceptual structures arising
from the integration of the characteristics inherent to the integration of sound and visual language. This work is also
related to the study of sensible qualities of urban space based on an integration of various sensory aspects of daily
life in public spaces, taking into account the development, perception and representations that people have of them.
This work may serve as reference for a better knowledge of the city. This is also related with the urban design. The
knowledge of the sensible qualities of the city through audiovisual projects can help us to define indicators and rating
criteria useful in possible management actions and urban planning
Keywords: Espacio, Sonido, Ciudad, Audio-visión, Paisaje sonoro, Percepción
Produção audiovisual para plataformas digitais interactivas: Os desafios do género

documentário
Teresa Gouveia
Abstract
Advances in technology changed the communication production process. Significant changes occur in the relationship
between media and communication products and in the consumption patterns. Audiovisual media shows
this mutation faster and it is observed the integration of various languages in the contents that are produced.This
content benefits from digital technology in their production as the platforms (web and interactive digital television,
for example) where they are displayed/distributed and/or accessed, show, through interactivity, changes in
viewer active attitude towards audiovisual products.
This paper aims to outlines the digital interactive audiovisual theme focusing on the specific domain of
documentary genre. It features the paradigm shift regarding the audiovisual products consumption and
focuses on the narrative structure changes and continuous patterns in the context of interactive digital
platforms. At the end it is presented an overview of proposals for web documentary production and
interactive digital television.
Keywords: Documentary, Interactivity, Digital platforms, Nonlinearity, Authorship
81
(Re)escrever um clássico: legendagem em Pride and Prejudice (2005)
Ana Daniela Coelho
Centro de Estudos Anglísticos da Universidade de Lisboa, Portugal
Abstract
It is undeniable that the audiovisual sphere has a central place in our lives. It is also clear that television and cinema
are together the two most important means of entertainment and culture. However, true as this may be, we seldom
think about the way we read both cinema and television: visual literacy is often taken for granted and thus many
things are left unseen. One of the things we tend not to reflect upon is subtitling. Given the fact that the great majority
of films and TV programmes in Portugal are of foreign origin and thus almost certainly subtitled, it seems we may
have been leaving much unseen /unread. In an effort to start bridging this gap, this paper will focus on the subtitles
in some excerpts of Joe Wright’s Pride and Prejudice (2005). This object is of particular interest because it raises
so many more questions regarding subtitling since, in watching it, we cannot ignore the fact that it was based on
the classic novel by Jane Austen. Our goal will be to compare the source text – written by Jane Austen – with the
target text – the subtitles made for the Portuguese version of the film –, keeping in mind the “intermediate” text –
the English audio text of the film. We will bring to this discussion questions raised not only in the field of adaptation
studies but particularly those questions related to subtitling, a field not uncommonly ignored by those who study the
relations between literary texts and films.
Keywords: Subtitles, Austen, Literature, Cinema, Audiovisual
Screens of surveillance : surveillance technologies in contemporary cinema

Meera Perampalam
Université Sorbonne Nouvelle - Paris 3, France
Abstract
The high security society has let spread new technologies of surveillance, using high tech devices from classic
surveillance cameras (CCTV), mobile phones to GPS, satellite. In fact, it doesn’t seem surprising that we find these
new technologies in contemporary cinema, during the early 1990s. Indeed, surveillance based on observation and
listening is quite linked to the cinema which is an “audio-visual” art.
It raises the question of the multiplication of diverse “screens” and projection of private images to public space.
That’s what Francesco Casetti demonstrates by distinguishing the “everywhere screen” and the “connected screen”.
It particularly occurs in the new monitoring screen which is at the same time an “everywhere screen” (on the TV,
computer, mobile phone) and a “connected screen” (linked to internet for instance). Those new “screens” are visible
in the postmodern cinema, by using “surveillance” technologies (by the government, like CCTV, satellites in “Enemy
of the State”, by Tony Scott, “Eagle Eye” by D.J Caruso) or by using “sousveillance” devices (theorized by Steve
Mann – such as camcorders, webcams or mobile phones in “Disturbia” by D.J. Caruso, “The Taking of Pelham 123”
by Tony Scott).
This paper would show the influence of those new technologies in contemporary movies by analyzing the creation
of these “screens” and images of surveillance.
Keywords: Surveillance, Cinema, Contemporary, Technologies, Monitoring, CCTV, Postmodernism.
82
TMJ. Videographic actions for description of a territory
Escuela Técnica Superior de Arquitectura de Madrid, España
Jorge Fernandez Herrero
Luis Antonio Gutiérrez Cabrero
Abstract
The goal of this work is to describe an area not precisely represented, without the use of conventional means. To
do so, this two main principles are take on consideration: 1. Polar space. The “me” is the center of the world. Mi
body is point zero and space is spread out around me as successive layers. Is closer to the innate perception, to
the non-learned knowledge. 2. Cartesian extension. An outside observer generates a space apprehension system
that is mostly opposite to the first principle. All points are a priori equivalent. The space is reduced to a trihedral
whose origin is arbitrary and it preserves intact its properties in all linear translation. For this purpose, a game is
proposed in which two teams of different players will go through a specific area, armed with video or photographic
cameras. Both teams swept the area coming from opposite sides and intersecting at the center tryng to make as
much captures of enemy players as possible. The ultimate goal is summarized in the overlap of the initial mapping
of the area, and different vector paths for each of the players. Each vector is associated with the audiovisual file path
and a summary for player profile. For audio-visual editing, a prior synchronization of the recordings is made on the
point of origin (minute zero) in order to reduce possible bias in the time-space corssing and overlap. The end result
is a contrapuntal composition in which the metric frequency produces a new instant grammar.
Keywords: Videographic, Grammar, Mapping, Game, Space
Transmedia storytelling – o caso do Cinema Documental

Pedro C. Rosário,
ECT - UTAD / CEL, Portugal
Abstract
The technological development of systems, supports and digital formats have allowed the evolution of concepts that
format the actual production of documentary cinema. People who use the new technologies transform themselves
therefore, from the internet, in citizens with a potential of participation in the development of construction projects of
the social and cultural memory from a determined territory.
Digital storytelling has allowed so far the digital production of contents related to the reality of who produces them
creating through the short multimedia narrative, as a inserted structure in a determined technological support, a
sharing space about the quotidian, specific interests, travels, education and training.
Transmedia storytelling creates the opportunity of generating a cross-media project structured through different
platforms, developing a new approach of the narrative processed in a non-linear form and in a collaborative
environment, making it possible to add different typologies of contents, (audiovisual, photography, digital image,
text, hypertext and hypermedia).
Transmedia storytelling manifests itself as a co-creative project, of unpredictable duration which uses different
platforms, promotes experiences through interactive narrative fragments that are connected around a determined
concept and objective created by the producer and developed by participants.
Can the production and reception of documentary cinema enter into an alliance with the co-creative projects of the
transmedia storytelling? Can Cross-media 4.0,(transmedia), in its multiple platforms, create different trajectories in
the documentary cinema range?
Keywords: Cinema-Technology, New media, Internet, Digital Storytelling, Transmedia Storytelling
83
Un bazar de imágenes: software libre/abierto, producción visual y creación colaborativa
Luís Fernando Medina Cardona
Corporación Universitaria Minuto de Dios, Colombia
Universidad Nacional de Colombia, Colombia
Abstract
New technologies and visual production are closer everyday. Computer code, software and media realm are
converging in a platform were creation, production and distribution are part of the same digital language, opposed to
traditional supports. For this reason, software is a very important component by itself, serving as a tool but also as a
connecting interface were contents are treated as modules in an automatized production flow. This article addresses
several issues about using software, specially free/open software, in creating audio visual media, showing not only
its convenience for education and media democratization but also as a paradigm of creation and content building.
In this direction, three key aspects of free/open software and visual production are treated, going from a simple
instrumental description to a more philosophical perspective, involving the art of cooperation in the digital age.
First, a categorization of fields were this kind of software can be applied are presented, including examples with its
advantages and limitations. Secondly, the influence of the free/open culture is bound through the concept of free
culture and open licenses to the problem of the content creation and distribution in a world were digital codified
media is easily copied with practically no costs. Finally, and following the former arguments, the Bazaar model is
presented as the most important contribution coming from the free/open software movement to the media creation,
encouraging phenomena as open source cinema, or collaborative video which uses new technologies but preserve
the collective nature of much of our cinematic expressions.
Keywords: Free/open Source Software, Open Source Cinema, Collaborative Creation, New Media, Free Culture.
Virtual sets, real tools or expensive toys? Notes for an argumentation about virtual set
design
Loretta Guerrini Verga
University of Bologna, Italy
Abstract
Do virtual set technologies really represent a breakthrough in video productions or are they a mere temporary
fashion? Thousand of video production centers worldwide are now using or implementing virtual sets solutions (from
the simplest enhanced chroma key to the ultra sophisticated full immersion real-like applications) for practically all
the television programs.
The day after Avatar’s presentation signed the opening of a new era in the public acceptance of the suggestive and
emotionally related movie sets based on the virtual technology. The 3D, for the time being, is the marketing driver
for some modern movie success but the basic virtual set platform that stays behind it is the real engine that let some
director’s dreams come true.
Now, running a very fast track, virtual sets are moving from the large movie facilities to the small television studios.
Same audience, almost the same director’s dreams, different budgets but, mainly, a different production expertise.
A deep change in the television production paradigm is now mandatory. New technology, new professional skills,
new design and designer but mainly a new production culture is required.
How could the movie culture and the cinema studies help the foundation of this new paradigm? With survey,
interviews, talks, experiments and tests I will lead you through, touch and verify this potential technical “Renaissance”
of the Television.
Keywords: Virtual Set, Production Paradigm, New Skills, Cinema Studies, Television
84
Convidados
Guests
Invités
Invitados
A Internet como espaço de criação artística
Inês Albuquerque
Universidade de Aveiro, Departamento de Comunicação e Arte, Portugal
Rosa Oliveira
Universidade de Aveiro, Departamento de Comunicação e Arte, Portugal
ID+ Research Institute for Design, Media and Culture, Portugal
Abstract
Cinema, in the tradition of panorama and similar spaces, may be considered an immersive space offering public a
different experience from reality.
Internet as a space of artistic creation allows the development of expressions that incorporates the so called Internet
Art, and that are so varied as the human and network communication possibilities (written, spoken and audiovisual)
allowing user (or public) to live different experiences through an interactive and immersive media.
This article will explore some of the ideas of Oliver Grau in his work “Virtual Art – from illusion to immersion” related
with interactive and immersive spaces, trying to frame cinema and, mostly, Internet Art as expressions resulting from
the utilization of technological supports, following the tradition of artistic interest by the creation of environments that
allow the experience of different sensations.
Keywords: Art, Cinema, Immersion, Interaction, Internet
Há festa no cinema: um passaporte obrigatório e a inevitabilidade da arte

Anabela Dinis Branco de Oliveira
Universidade de Trás-os-Montes e Alto Douro/ CEL – Centro de Estudos em Letras, Portugal
Abstract
A party is an essential moment in the life of all people. It is an individual, collective, spontaneous, planned, required
and interrupted display. It is a passage and an individual desire connected to a collective process. It is the course
which shows the identity of a region, people, and a way of thinking. It is also the individual desire of a dictator and of
a totalitarian regime provoking the collective insurrection of an accomplished cult in festive manifestations. And, in
addition to that, it is according to António Lopes Ribeiro, Armando de Miranda, Chianca de Garcia, Claude Lelouch,
Constantino Esteves, Cotineli Telmo, Emir Kusturica, Ettore Scola, Federico Fellini, Fernando Meirelles, Francisco
Ribeiro, Georges Sluizer, Jacques Tati, João Canijo, João Mendes, José Buchs, Manoel de Oliveira Pedro Almodovar
and Sergio Tréfaut, the inevitable trajectory in a structured narrative process in recreated memories. But a party, the
image of a spiritual serenity and of cyclical happiness and of identity is also interrupted. This interruption provokes
a change and, in the trajectory of the film narrative, it projects the tragic burden of the diegesis. Unconvincing,
constant, and fragmented between realism and surrealism, the dialogue between cinema and party projects the
certainty of art.
Keywords: Party, Art, Propaganda, Identity, Imaginary
87
Jornal Escolar Digital - Um projecto de comunicação visual na escola
José Carlos Vieira Martins
Departamento de Educação, Universidade de Aveiro, Portugal
Rosa Maria Oliveira
Departamento de Comunicação e Arte, Universidade de Aveiro, Portugal
ID+ Instituto de Investigação em Design, Media e Cultura
Isabel Amorim
Escola E.B.2,3 Florbela Espanca – Esmoriz, Portugal
Abstract
The communication challenges are now very different – due to the developments in the sector – from those who
guided the production of several initiatives, in this area, in a recent past. Nowadays, youngsters come more often
into contact with online information than the traditionally broadcast. It is, therefore, imperative to create an electronic
version to complement the printed format of the traditional school newspaper. The permanent updating of its contents
will be a valuable asset for intercommunication processes inside a group / school community. Within the Master
Programme in Teaching of Visual Arts for Teachers of the 3rd cycle of Basic Education and of Secondary Education
(University of Aveiro), a group of trainee teachers teaching in the school with 2nd and 3rd cycles of Basic Education
in Esmoriz (northeast of Portugal), intend to, actively, contribute to building a school magazine in digital format,
according to a crosscutting project, which aims to be a conduit of information and dissemination activities carried out
within and outside school, including the thematic content of Visual Arts. A privileged access to knowledge and to the
sharing of experiences, giving a valuable contribution to the creation and development of new positions in the scope
of collaborative and interdisciplinary work, by which students and teachers take an active and determinant role in
the development and sharing of information. It has been designed as an educational tool that stimulates creativity in
Visual Arts curriculum and also gives an important contribution to the teaching-learning process. It is this experience
that we wish to make public so as to contribute to the growing awareness in projects and content that catch up to
the rising waves of youth interests.
Keywords: Digital School Journal, Visual Arts, Visual Communication
Legs Wide Shut: socioanalysis and pornocracy in kubrick’s final film

Matt George
Hawaii Pacific University, USA
Abstract
This ‘socioanalytic’ reading of Eyes Wide Shut proposes that when Dr. Bill Harford (Tom Cruise) discovers the orgy
at the Sombarton ball, he is witness to a literal enactment of historical nightmares that underwrote the development
of post-enlightenment marriage law in Europe and its colonies. Rather than see the display of female bodies
and feminine subjectivity in the film as signifiers of castration or irretrievable yet desired ‘maternal objects’ in the
psychoanalytic sense, this reading focuses on how Alice Harford’s body (Nicole Kidman) (as well as those of the
hired and voluptuous Sombarton retinue) demonstrate the regulation of feminine subjectivities as circulated and
hoarded emblems of social status. Stanley Kubrick’s dramatization of Arthur Schnitzler’s Traumnovelle reveals how
modern Western love and marriage relies on meretricious performance of femininity within subjective regimes of
sexual privilege and proscription. The paper reads the experience of the Harford’s in dealing with their dreams and
inchoate experiences of 1990’s marriage as a historical genealogy expressive of dark conceptual undercurrents of
‘liberationist’ and libertarian discourse regarding sexual ‘exchange’ in psychoanalytic and Lacanian inspired social
theory.
Keywords: Kubrick, Bourdieu, Zizek, Foucault, Sex
88
Light and shadows in holography: a possible dialogue between art and science by using
artistic holography
Rosa Maria Oliveira
Department of Communication and Art, University of Aveiro, Portugal
ID+ Research Institute of Design, Media and Culture
Abstract
Light has been seen as a plastic material since Moholy-Nagy created and presented his work of art “Light-Space-
Modulator”. When Dennis Gabor discovered Holography new approaches of the use of Light as an Art medium
became possible. Nowadays several artists use Artistic Holography as their preferential medium. This paper is a
presentation of the research of the author in this field and also a tribute to these two men, an artist and a scientist
that contributed to the development of a better dialogue between Art and Science in ways that were impossible
before their works.
A Hologram is light; but is there light without shadows?
Keywords: Light and Shadows, Light and Space, Art and Science, Artistic Holography
Mobilidade dos povos e imagens em movimento

José da Silva Ribeiro
Universidade Aberta, Portugal
Abstract
Cinema is often appointed as an agent of spectacle of the world and social phenomena, as dream machine, as
a great illusion, but it did not fail to warn of the tragedies, social problems, the lives of people who leave seeking
the fulfillment of dreams, projects and better living conditions. The cinema is the most complete and complex
representation of the imagined real of human mobility, of the migrant populations. This representation is sometimes
built by the actors of the migration process. We will seek to situate the film in the migration process in its kaleidoscopic
dimension and focus its expression in relation to the Portuguese emigration.
Keywords: Cinema, Spectacle, Representation, Migration Process
O Cinema Português e o PREC – Recuperando a Memória

Vítor Reia-Baptista
Universidade do Algarve
Filipa Cerol Martins
Universidade do Algarve
Abstract
The communication to be presented reports on the preliminary results of a research in progress that aims to recover
and contextualize the Jornal Cinematográfico Nacional (J.C.N.), a newsreel produced within the Portuguese Film
Institute. Having as corpus of analysis the period of the “institutionalization” of the Portuguese democracy between
1975 and 1977, this work proposes to address the J.C.N. by two points of view, which are complementary. On
the one hand, it aims to understand the Jornal Cinematográfico Nacional as the testimony of a collective memory
and its representation modes, on the other, to regard it as a specimen of a genre at the intersection between
cinema and television. In the logic of “workers’ control” and collectivization, characteristic of this political period, the
Portuguese Film Institute organized units of production for the J.C.N. At the confluence of journalism, film, militancy
and television, the news coverage done by J.C.N. is symptomatic of this transition context, ranging from a more
classical and formal approach, with omniscient voiceover producing a pedagogical discourse, to a strong presence
of the direct sound and interviews, of a certain ethnographic vocation, much by contamination from the aesthetic
currents of the “cinéma vérité”. Given its news coverage, but also the languages and resources used to do it, the
work also focuses on its ethic and aesthetic relationship with reality and the public sphere.
Keywords: Film Literacy, Media Literacy, Collective Memory, Reel News, Film Journalism
89
O Milagre segundo Salomé: duas visões poéticas, uma mesma realidade?
Maria Eugénia Pereira
Abstract
This article aims to establish a comparative understanding between the novel The Miracle According to Salomé of
José Rodrigues Miguéis and Mário Barroso’s homonymous film. We will try to discover what happens to a literary
work, which, for being deeply marked by an historical and social period, is rewritten in another time with another sign
system, instead of words. We will observe, therefore, the way how the lived experiences and events by the writer
became History and myth when revealed by cinematographer; as moral and beliefs were understood and interpreted
by the translator’s mind; and as characters gain a new dimension with the new interpreter. We will also see how
the migueiseano miracle (from Miguéis, the name of the writer), carried by Barroso’s photographic exuberance and
soundtrack, reinforce the critical view that the novelist already possessed.
Keywords: The Miracle According to Salomé; José Rodrigues Miguéis; Mário Barroso; Dialogical Relationship
Paper Tiger or Hidden Dragon: A Dramaturgical Analysis of Ang Lee’s “Lust and
Caution” (色，戒)
Philip Zitowitz
Meiji University, Japan
Abstract
According to Time Magazine, Ang Lee has single-handedly opened up the West to Chinese cinema with his
production of “Crouching Tiger, Hidden Dragon,” and is one of the few Asian directors that has received critical
acclaim in both the East and the West with his productions of Lust, Caution(2007), Brokeback Mountain (2005),
Crouching Tiger, Hidden Dragon(2000), The Ice Storm(1997),Sense and Sensibility(1994), Eat Drink Man Woman
(1994) The Wedding Banquet (1993), and Pushing Hands(1992).
Born in Taiwan and educated in the United States, Ang’s films demonstrate a seamless synthesis of the aesthetics
of the East and West, while simultaneously portraying a world that is separated by gender, race, and national
identity. These concerns are most poetically realized in his underrated masterpiece, “Lust and Caution” which takes
place in Japanese-occupied, World War 2-era Shanghai. While the politics of gender and ethnicity have been
a recurring motif in Lee’s work, we will see how the recurring use of role-playing and performance shape the
theme, dialog, and ultimately the illicit relationship between a pro-Japanese Chinese collaborator, Mr. Yee, and a
former university actress who joins the underground resistance. Ang Lee’s use of dramaturgical role-playing in “Lust,
Danger” ultimately problematizes conventional Western perceptions of gender, politics, and nationality.
Keywords: Ang Lee, Asian Directors, East West, Ethnicity, Chinese Cinema.
Performatividade do corpo pós-humano: de Narciso a Pigmalião

Mónica Alexandra Fernandes Marques Amado
Paulo Bernardino das Neves Bastos (PhD)
Abstract
When investigating the performativity of the body, it is important to register its process, its mechanisms, its
movements, its actions. The issues that relate the performative body with its visible and invisible, outer and inner,
lived or potential structure, lead to its (de)materialization and contribute to its (de)construction by attributing value
and meaning, while objectifying and subjectifying it at the same time.
The presented analysis does not refer to the body in its capacity as an artistic medium voicing its capabilities, as
assumed by the Body Art, but to a performative body that develops an action and manifests itself as matter and as
a means of expression of a hybrid and multidisciplinary language.
Based on the mythological parables of Narcissus and Pygmalion, the study proposes an analysis of the contemporary
performances located in a body empowered by technology. The propositions, in order to bridge the physical
boundaries and “natural” order, allow a prospective ontological view of a new body, a post-human body.
Keywords: Art, Body, Performance, Post-human, Science, Technology
90
Recent improvements to OpenMoCap and its release to download and to development
as free open source software
João Victor Boechat Gomide
Universidade FUMEC, Brazil
David Lunardi Flam
Universidade FUMEC, Brazil
Arnaldo de Albuquerque Araújo
Universidade Federal de Minas Gerais, Brazil
Abstract
This article discusses recent improvements introduced in the code of the free open source optical motion capture
system, OpenMoCap. The paper also relates the advances in the source code from the beginning of its development
and the plans to improve its code and broaden its possible applications in a collective way of collaboration. A final
version of the software is being released in September 2011, in the web portal www.openmocap.org. This web
portal is devoted to animation and augmented reality with motion capture and will have links to allow download of
the software. The website will have a section for developers, where the source code will be available to be read and
modified. In this article the information architecture of the website is presented. The software carries out the entire
pipeline for acquisition of motion data and its output in appropriate formats to modeling and animation software.
Three applications with character animation are currently being done to show the feasibility of the software.
Keywords: Character Animation, Augmented Reality, Motion Capture, Software Development, Computer Graphics
The urgent need for increased sensitivity to sound

Rosemary Mountain
Concordia University, Montreal, Canada
Abstract
The author refers to a recent viewing of Werner Herzog’s film Cave of Forgotten Dreams and her dismay at the
use of an inappropriate soundtrack as an example of the need for better critical and analytical tools for sound-
image manipulation which has prompted her development of a research project entitled NESTAR - a Network
of Exploratory Spaces for Temporal Arts Research. The project, which is the current phase of her decades-long
research programme more commonly known as the Interactive Multimedia Playroom, is moving into an international
network of artists and researchers from various disciplines who explore a variety of short examples of sounds and
images (moving and still) and words which can function as descriptors or classifiers. Although the project has many
different aspects and applications, this report focusses on areas of particular relevance to film and media.
Keywords: Sound-image Interaction, Interactive Multimedia Playroom, Nestar
Utilização da maqueta enquanto cenário/espaço arquitectónico na construção de

narrativas desenvolvidas em contexto escolar
Liliana Alves Couto
Departamento de Educação, Universidade de Aveiro, Portugal
Rosa Oliveira
Departamento de Comunicação e Arte, Universidade de Aveiro, Portugal
ID+ Instituto de Investigação em Design, Media e Cultura
Isabel Amorim
Escola EB2,3 Florbela Espanca, Esmoriz, Portugal
Abstract
School spaces carriers well defined meanings. They establish the fields in which the speeches and behaviors are
clearly defined. The work will then search out “transgression” “marginalized” and “contested“ places that can enrich
the narrative, by the conclusions may lead.
Socially, the question arises how the actors play their roles, conversations, experiences, speeches and personal
stories in their lived (autobiographical) school spaces. Are we really compulsive builders of stories that raise
awareness of ourselves since, as the more we communicate, more improved ourselves as authors? But how and
why we do it?
The paper proposes answer to the challenge of, crossing three dimensions of art: a scale model as a scenario
/ architectural space, the video as narrative and social actors as players, try to discuss the school as an area of
relationships.
Keywords: Architectural Spaces, Scenaries, Personal Stories, Video, School Context
91
92

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AVANCA | CINEMA

livro de resumos / abstracts book

AVANCA | CINEMA 2011

AVANCA | CINEMA 2011

AVANCA | CINEMA 2011

AVANCA | CINEMA 2011

Keywords: Greek cinema, Landscape, Athens, Representations

A censura ao corpo nos primeiros anos de governo de Marcello Caetano

Keywords: Body, Censorship, Cinema, Marcelismo, Mentalities

AVANCA | CINEMA 2011

Keywords: Soundtrack, Listening, Heterochony, Bergson, Stalker

A óptica natural como ilusão de óptica

Keywords: Optics, Perception, Experience, Hypothesis, Illusion

A performance e o filme: da Fluxus à performance digital

AVANCA | CINEMA 2011

Keywords: Boundaries, Cinema spectator, Cyborg, Subjectivity, Human body

“A via: passageiros”: texto, imagem e performance teatral

Keywords: Research, Audiovisual, Theater

AVANCA | CINEMA 2011

Keywords: Art, Architecture, Cinema, Dance, City

Beowulf at the movies: from anglo-saxon poetry to modern cinema

Keywords: Monsters, Middle ages, Movies, Poetry, Heroes.

AVANCA | CINEMA 2011

Keywords: Peter Greenaway, Historicity, Mannerism, Cinematic perception, Tulse luper

Catarsis na arte: a teoria da reacção estética

Keywords: Art, cinema, Psychology, Catharsis, Aestethical reaction.

AVANCA | CINEMA 2011

Keywords: Cine-counterpoint, Music, Mozart, Pasolini, Oedipus-Rex

De “Q e A” a “Slumdog millionaire”: as aventuras da literatura no cinema

Keywords: Literature, Cinema, Language, Adaptation, Differences

AVANCA | CINEMA 2011

Keywords: Film Criticism, Politics of Authorship, Reception, Cognition

Keywords: Manoel de Oliveira , Agustina Bessa-Luís, Adaptation, Dialogues, Literature

AVANCA | CINEMA 2011

Keywords: Art, Process, Form, Anxiety, Emptiness

Documentary dialogue or dissemination?

Keywords: Geocaching, Pervasive Media, Geoartcache, Participatory, Artist Film

AVANCA | CINEMA 2011

Keywords: Film Theory, History, Memory, Films Aesthetics, Interpretation

Ernesto de Sousa: Do Cinema ao Mixed-Media…Com a Fotografia Pelo Meio

Keywords: Ernesto de Sousa, Cinema, Photography, Dom Roberto, Alternativa Zero.

Keywords: Brands, Advertising, Television, Film, Images

AVANCA | CINEMA 2011

Keywords: Memory, Multimedia, Perception Moods, Semiology, Neurosciences

In Transit: revealing history through landscape in contemporary film

Keywords: Contemporary Film, Landscape, Memory, History

AVANCA | CINEMA 2011

Keywords: Information, Instruction, Installation Art, Narrative, Film Archives

Inspiração tipográfica no cinema – recordações de um genérico…

Keywords: Initial Sequence, Cinema, Design, Motion graphics, Typography

AVANCA | CINEMA 2011

Keywords: Female Character, Animation, Literature, Women, Spain

La reformulación de espacios de contemplación en el cine de José Val del Omar

Keywords: Cinema, Sound, Val del Omar, Spaces, Diaphony

AVANCA | CINEMA 2011

Little Women – A Visão de uma Realizadora

Keywords: Literature, Cinema, Adaptation, Narrative, Feminism

Keywords: Sennett, Producer, Filmmaker, Social Satire, Visual Artist

AVANCA | CINEMA 2011

Keywords: Monsters, Glitch, Cinema, Fragmentation, Repetition.

Música filmada: uma questão de repertório

O anonimato da cidade contemporânea: a visão urbana de Wim Wenders

Keywords: City , Wim Wenders, Space, Place, Void