scholarly journals Do Cinema ao GIF: Apropriações e ressignificações da imagem no século XXI

ILUMINURAS ◽  
2020 ◽  
Vol 21 (53) ◽  
Author(s):  
Flóra Simon da Silva
Keyword(s):  
Digital Media ◽  
Film Industry ◽  
Digital Communications ◽  
Moving Image ◽  
Social Actors ◽  
Daily Experiences ◽  
Artificial Memory ◽  
The Moment

Resumo: O artigo tem como objetivo compreender fenômenos comunicacionais a partir do conceito da midiatização observando apropriações visuais de cenas de filmes em gifs identificados nos meios digitais. A problemática dessas apropriações se forma a partir do momento em que a sociedade produz sentidos visuais e registra sensações e emoções individuais e compartilhadas nos meios digitais, compartilhando situações e emoções através de imagem em movimento e texto que poderão ser reproduzidos constantemente, da mesma forma que a indústria cinematográfica pretende a partir da construção de uma memória artificial. Nesse caso, analisa como as sociedades midiatizadas transformam meios como o cinema a fim de aprimorar suas formas de comunicação e, em outro aspecto, busca compreender como as ações de atores sociais criam sentidos visuais em gifs, contam histórias produzindo novas memórias e eternizam suas vivências cotidianas a partir de um dispositivo tentativo.Palavras-chave: Cinema. Gif. Apropriação. Imagem. Memória  FROM CINEMA TO GIF: APPROPRIATIONS AND REFRAMINGS OF THE IMAGE IN THE XXI CENTURY Abstract: The article aims to understand digital communications from the concept of mediatization, observing visual appropriations of movie scenes in gifs identified in digital media. The problematic of these appropriations starts from the moment when society produces visual senses and records individual and shared feelings and emotions in digital media, sharing situations and emotions through the moving image and text that can be reproduced constantly, in the same way that film industry intends from the construction of an artificial memory. In this case, analyzes how mediatized societies transform media such as cinema, to improve their forms of communication and, in another aspect, seek to understand how actions of social actors create visual meanings in gifs, they tell stories producing new memories and eternalize their daily experiences from a tentative device.Keywords: Cinema. Gif. Appropriation. Image. Memory

Exploring ‘digital placemaking’

2021 ◽  
Vol 27 (3) ◽  
pp. 573-578
Author(s):  
Germaine Halegoua ◽  
Erika Polson
Keyword(s):  
Digital Media ◽  
Sense Of Place ◽  
Media Use ◽  
Special Issue ◽  
Social Actors ◽  
Broad Framework ◽  
The Many ◽  
And Control ◽  
Connected Spaces

This brief essay introduces the special issue on the topic of ‘digital placemaking’ – a concept describing the use of digital media to create a sense of place for oneself and/or others. As a broad framework that encompasses a variety of practices used to create emotional attachments to place through digital media use, digital placemaking can be examined across a variety of domains. The concept acknowledges that, at its core, a drive to create and control a sense of place is understood as primary to how social actors identify with each other and express their identities and how communities organize to build more meaningful and connected spaces. This idea runs through the articles in the issue, exploring the many ways people use digital media, under varied conditions, to negotiate differential mobilities and become placemakers – practices that may expose or amplify preexisting inequities, exclusions, or erasures in the ways that certain populations experience digital media in place and placemaking.

scholarly journals Martin Heidegger’s Anti-Semitism: Philosophy of Technology and the Media in the Light of the "Black Notebooks". Implications for the Reception of Heidegger in Media and Communication Studies

2015 ◽  
Vol 13 (1) ◽  
Author(s):  
Christian Fuchs
Keyword(s):  
Digital Media ◽  
Philosophy Of Technology ◽  
Modern Technology ◽  
Being And Time ◽  
German Philosophy ◽  
Black Forest ◽  
Media Communication ◽  
Anti Semitism ◽  
The Media ◽  
The Moment

“Heidegger is the petty bourgeois of German philosophy, the man who has placed on German philosophy his kitschy night-cap […] When I see that even super-intelligent people have been taken in by Heidegger, […] I feel sickened to this day. […] Heidegger used to hold court at Todtnauberg and at all times would allow himself to be admired on his philosophical Black Forest plinth like a sacred cow. […] They made their pilgramages, as it were, into the philosophical Black Forest, to the sacred Martin Heidegger and knelt down before their idol”--- Thomas BernhardAbstract:In spring 2014, three volumes of the Schwarze Hefte (Black Notebooks), Heidegger’s philosophical notebooks, were published in the German edition of his collected works. They contain notes taken in the years 1931-1941 and have resulted in public debates about the role of anti-Semitism in Heidegger’s thought.This article asks: What are and should be the implications of the publication of the Black Notebooks for the reception of Heidegger in the study, theory, and philosophy of media, communication, and technology? It discusses Theodor W. Adorno’s and Moishe Postone’s contributions to the critical theory of anti-Semitism and applies these approaches for an analysis of Heidegger’s Black Notebooks.The analysis shows that the logic of modern technology plays an important role in the Black Notebooks. The paper therefore also re-visits some of Heidegger’s writings on technology in light of the Black Notebooks. There is a logical link between the Black Notebooks' anti-Semitism and the analysis of technology in Being and Time and The Question Concerning Technology. The first publication provides the missing link and grounding for the second and the third.Heidegger’s works have had significant influence on studies of the media, communication, and the Internet. Given the anti-Semitism in the Black Notebooks, it is time that Heideggerians abandon Heidegger, and instead focus on  alternative traditions of thought. It is now also the moment where scholars should consider stopping to eulogise and reference Heidegger when theorising and analysing the media, communication, culture, technology, digital media, and the Internet.Image source: By Willy Pragher (Landesarchiv Baden-Württemberg) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons

From ‘Sustainability’ to ‘Competitive Industry’

2015 ◽  
Author(s):  
Gillian Doyle
Keyword(s):  
Film Industry ◽  
Competitive Industry ◽  
Key Players ◽  
Set Up ◽  
The Moment ◽  
Over Time ◽  
The Way

Although from the moment the Film Council was set up, it was clear that the intention was to found an organisation focused on bringing ‘sustainability’ to the British film industry, the Council gradually retreated from this term in favour of a wider set of priorities and the way in which it articulated its mission also gradually shifted. Drawing on a wealth of original interviews with senior politicians, film executives, independent producers, industry experts and leading filmmakers, this chapter examines the key players, forces and assumptions which drove the Film Council’s agenda, how the weighting of priorities shifted over time and why the Council’s sense of mission changed over its lifetime.

An Interactive and Digital Media Literacy Framework for the 21st Century

2009 ◽  
pp. 119-127
Author(s):  
Wei-Ying Lim ◽  
David Hung ◽  
Horn-Mun Cheah
Keyword(s):  
Digital Media ◽  
Media Literacy ◽  
21St Century ◽  
Digital Communications ◽  
Information And Communications Technology ◽  
Communications Technology ◽  
The Media ◽  
Literacy Framework ◽  
Global World ◽  
Digital Media Literacy

We are entering into a milieu which makes the global world look much smaller because of digital communications and technologies. More recently, there has also been a coming together of participants from the media world such as those in cinema and animation with those from the technology sectors. This partnership forms what we now know as interactive and digital media (or IDM). In this chapter, the authors aim to articulate the importance of IDM literacies in relation to the 21st century. They attempt to clarify the distinctions between ICT (information and communications technology) and IDM, and from their analysis, they propose a matrix integrating both.

Conclusion

2020 ◽  
pp. 248-268
Author(s):  
Craig Allen
Keyword(s):  
Digital Media ◽  
Public Awareness ◽  
50Th Anniversary ◽  
Formative Period ◽  
Spanish Language ◽  
Third Generation ◽  
Traditional Media ◽  
History Of ◽  
The Moment ◽  
The U.S

Univision celebrates the 50th anniversary of Spanish-language television in 2012. The moment is occasioned by the first widespread public awareness of Spanish-language television and the large U.S. population is reaches and impacts. The first extensive criticism ensues. Conservative politicians attack the endeavor for dividing traditional U.S. society and for an alleged liberal bias. Believing it impedes Latinos’ success in the U.S., Governor Arnold Schwarzenegger urges them to turn off the Spanish TV set. Closer observers complain that banal and distant foreign programming fails to address the interests and needs of U.S. Latinos. They scorn Univision and Telemundo for reconfiguring U.S. Latinos of diverse nationalities into a “Pan Latinidad.” Many of the criticisms are not supported by the endeavor’s history. Yet at the time of the anniversary, more pertinent than the criticisms are unresolved questions. Latinos’ increasing preference for interactive digital media is fragmenting the audiences that Univision and Telemundo as traditional media once had amassed. Slowly foreseen is potentially the largest challenge, that the preponderance of younger “third generation” Latinos increasingly are inclined to speak English. Regardless of the future, the history of Spanish-language television will remain important as a light on a “television age” that is essential to understanding a U.S. that changed during a highly formative period in the nation’s history.

Between Copyright and Creativity

2020 ◽  
pp. 104-121
Author(s):  
Amanda Egbe
Keyword(s):  
Film Industry ◽  
Motion Pictures ◽  
Film History ◽  
Copyright Law ◽  
Early Cinema ◽  
New Materials ◽  
Moving Image ◽  
Primary Form ◽  
Archaeological Approach

Focusing on Edison’s early cinematic apparatus and the optical printer, this chapter explores how copyright law intersects with creativity, providing an alternative to teleological accounts of moving-image technologies. Thomas Edison attempted to control the film industry through patents and copyright. Edison’s first film experiments were registered as a series of photographs on card by his assistant, W. L. Dickson. In protecting these contact copies as paper prints with copyright, the new medium of motion pictures was being formalized. The necessity to duplicate film to support the development of exhibition and distribution was also necessary for copyright purposes. An archaeological approach is utilized to explore how paper prints enabled innovation in the area of the optical printer, a primary form of duplication in cinema. In developing approaches that could bring to life the remaining examples of early cinema, novel solutions in the form of innovations were required. The overlapping concerns of the copyright clerk, the film entrepreneur, and the film historian thus provide a basis for new materials and new innovations in moving-image technology and film history.

Film and Performance: Intermedial Intersections

2021 ◽  
pp. 11-22
Author(s):  
Stephen Barber
Keyword(s):  
Digital Media ◽  
Live Performance ◽  
Moving Image ◽  
Image Projection ◽  
Media Events ◽  
Performance Events ◽  
And Performance

Film and performance have always been closely interconnected, from the origins of cinematic projection in 1895. This essay, with a theoretical focus, explores how film and moving-image forms work to transform performance when they intersect with it, and vice versa. It examines how film serves to mediate and ‘reframe’ the experience and the time of live performance events, notably through the incorporation of moving-image elements into the space of performance, and through particular forms of projection and audience perception. It also probes how conceptions of intermediality can be traced specifically through the intersection of film and performance. The essay spans the entirety of moving image culture, beginning with an account of the connections between film and performance in the work of the German innovators of moving-image projection, the Skladanowsky Brothers, and ending with an examination of the work of the contemporary Lebanese filmmaker and performance artist, Rabih Mroué, whose work resonates with early cinema’s performative strategies but focuses also on current digital media events such as the dangerous ‘performative’ public filming with iPhones of government snipers in the streets of Syria.

All Too Easy

2017 ◽  
Author(s):  
John David Rhodes
Keyword(s):  
Film Industry ◽  
Moving Image ◽  
Ayn Rand ◽  
Modernist Architecture ◽  
Richard Neutra ◽  
Josef Von Sternberg ◽  
The Way

Takes up the modernist house as it appears in films like A Star is Born (George Cukor, 1954), House (Charles and Ray Eames, 1955), and more recent films and moving image media such as The Anniversary Party (Alan Cumming and Jennifer Jason Leigh, 2001), A Single Man (Tom Ford, 2009), and Stephen Prina’sThe Way He Always Wanted It, II (2008). The chapter also considers a strange site of coincidence between modernist architecture and the movies: the house designed by Richard Neutra for the director Josef von Sternberg that then passed into the hands of Ayn Rand, who was also working in the film industry.

#MeToo as a Connective Movement: Examining the Frames Adopted in the Anti-Sexual Harassment Movement in China

2020 ◽  
pp. 089443932095679
Author(s):  
Pengxiang Li ◽  
Hichang Cho ◽  
Yuren Qin ◽  
Anfan Chen
Keyword(s):  
Sexual Harassment ◽  
Collective Action ◽  
Digital Media ◽  
Problem Definition ◽  
Treatment Recommendation ◽  
Framing Analysis ◽  
Collective Action Frames ◽  
Social Actors ◽  
Personal Action ◽  
Media Platform

This study was aimed to contribute to understanding how networked yet fragmented online actors create meaning in digital media–enabled movements like #MeToo. By drawing upon a multidimensional framing analysis, this study investigated how personal action frames, collective action frames, and issue-specific frames were adopted in #MeToo movement in China, and it also shed light on how different groups of social actors respond to sexual harassment issues on Sina Weibo, a Chinese social media platform. This study employed computational content analysis to extract frames from a huge amount of traceable data (i.e., 16,187 Weibo posts) and uncovered seven specific types of frames categorized as personal experiences and emotional commentary (as personal action frames), injustice and opposition (as collective action frames), and problem definition, treatment recommendation, and related news (as issue-specific frames). The results revealed that personal action frames and collective action frames were widely adopted by females and ordinary users, whereas issue-specific frames were more commonly applied by males and organizational users. These empirical findings enhance our understanding of meaning construction with regard to digital media–enabled movements.

Children and Film-Making

2019 ◽  
Author(s):  
Michelle Cannon
Keyword(s):  
New Media ◽  
Digital Media ◽  
Formal Education ◽  
Good Practice ◽  
Western World ◽  
Media Production ◽  
Cultural Dimension ◽  
Educational Settings ◽  
Moving Image ◽  
Film Making

Youth film-making practices in educational settings are often positioned in discourses that support older teenagers’ career prospects and their training for industry. However, the work detailed in this list is located in formal and informal educational settings that foreground the social and cultural dimension of youth film and media production. As such, this article engages with the role of the moving image in everyday living, in creative arts education, and in the “reframing” of literacy to include visual and audio modes. In this view, film-making opportunities move beyond the formal domains of secondary and higher education film and media studies students, so that learners of all ages can become “writers” of the moving image as well as “readers.” This bibliography lays out the different sites and means through which primary and secondary children encounter film-making in the anglophone world and more internationally. In addition, it details the academic perspectives through which children’s engagements with film are studied and the increasing number of resources available to researchers and educators in the field. As distinct from the broader realm of production activities with digital media (e.g., game authoring or podcasting), research interest in children’s film-making is in the early stages of development in terms of academic literature and its differentiation. The making dimension might occupy part of a text on, for example, the uses of film in the classroom or on media education more broadly. Notably, discourses on youth film-making have increased in recent years with the development of new media technologies, social media platforms, and digital media authoring software. Functionality that used to be mediated through cumbersome professional apparatuses are now at the disposal of many amateurs via mobile digital devices. These ongoing advances coupled with a wide-ranging academic interest in multimodal expression open up new worlds of audiovisual storytelling for children and young people. Readers will notice the multidimensional nature of the categories that serve to demonstrate the versatility of film across social domains. Despite this and the significant uptake of creative media production by educators and practitioners in informal educational settings in the Western world, there is a discernible disinclination for many educational institutions to include film-making programs in formal education. Thus, there is a sense in which film-making for children remains a marginal activity, dependent on local enthusiasts and pockets of random good practice. Many of the authors are keen to see this change and to promote film as a relevant, dynamic, and cross-disciplinary constituent of modern literacy and the visual arts. Legitimizing film-making experience as a systematic literacy practice with a strong creative and critical dimension is seen as a way of enriching cultural expression in schools.

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