How Alfred Hitchcock Distanced Robert Bloch. Psycho once again (on the sixtieth anniversary of the famous film adaptation of the novel)

In Psycho, Alfred Hitchcock appears to have explored the entire potential of Robert Bloch’s novel, employing a variety of solutions allowed by the polysemiotic audiovisual medium. Hitchcock made signifi cant compositional changes in comparison with the original (including the „false end” effect) and introduced new motifs, thus thoroughly modifying the symbolic implications of the story (e.g. the ornithological motifs). Another issue addressed in the article is the depiction of death, framed through references to the work of Gérard Lenne, who argues that in artistic exposures of the body, death undermines the illusion of the spectacle. The famous shower scene in Psycho solves this problem through stylistic solutions (e.g. the use of visual metaphors).

Book Trailer “Nawung, Puteri Malu dari Jawa” Dengan Teknik Pop-Up Projection Mapping

Audiovisual medium is an effective medium for conveying information. The arts of videography gives birth to products that can not only displays the expression of it’s creator but also useful. Book trailers have a literacy function that can be a good communication medium for preserving a reading culture by recommending a book. One of audiovisual characteristics which involve more than one human senses to enjoy it has its own power to achieve its purpose. This book trailer takes some parts of the story in the novel “Nawung, Puteri Malu dari Jawa” which arranged into a series of story footage. The compiled plot will be translated into a book trailer format. By using the pop-up projection mapping technique which is a combination of manual techniques (paper cutting and pop-up books) and digital (motion graphics and projection mapping), a book trailer will be made to recommend the novel “Nawung, Puteri Malu dari Jawa”to the wider community.

Is the Film as Empowering as the Book? Studying Empowerment in A Monster Calls

The aim of the paper is to discuss A Monster Calls (2016) by J. A. Bayona, a film adaptation of Patrick Ness’s novel (2011) of the same title, based on an original idea by Siobhan Dowd, from the empowerment theory perspective. The author of the article indicates that there are some significant changes between the book and the motion picture, especially when it comes to the ways of empowering the protagonist and the works’ potential young audience. The results of this comparative study show that the film is more affectively empowering than the novel. This is mainly because in the book, Ness skillfully uses verbal narration (accompanied by Jim Kay’s illustrations), while in the film, Bayona takes advantage of the possibilities offered by the audiovisual medium, therefore providing the audience with artistic and psychological empowerments.

The methodology behind digital papers

In 2015 Ross Gibson wrote about the need in the academy for “linguistic explication” of the artwork and creative process, in particular to encourage debate on knowledge that arises from the work. I began my creative practice PhD after spending twenty years as a successful documentary practitioner. When it was time to start writing about my research and the new knowledge, instead of using text I turned to the audiovisual medium as my method of communication. I created “Filming” (2017), which combines the theory-rich mode of academic papers with the audio-visual form of my art, documentary. I called it a “digital paper”. The digital paper form has become an integral part of my PhD. This hybrid creative practice uses my artform medium as my method of communicating Gibson’s “linguistic explication”, rather than using text alone. This report will locate the digital paper within my PhD practice.

Tragedia lalki w żywiole komedii. Operowy kontekst filmu Aria Piotra Sapiegina (2001)

The subject of the analysis is the animated puppet film Aria by Pjotr Sapegin, which refers to the plot and the music – through the quotes from the aria ‘Un bel dì vedremo’ in the arrangement of Normand Roger – of the opera Madama Butterfly by Giacomo Puccini. By taking as a main reference point a description of musical operations made in the film and their contribution in constructing the meanings of the audiovisual work, the author of the article moves successively between several interpretation levels: historical (she situates the film within the puppet’s opera tradition), media-theoretical (she considers the qualitative transformation of the doll in theater and film in the perspective of different aesthetics of both media), theatrological (she reflects on the doll’s ontology, with particular emphasis on the question of comicality), and operological (she refers in part to the entire opera of Puccini and portrays more accurately verbal, musical and dramaturgical values of the aria ‘Un bel dì vedremo’, while proving that the Sapegin’s film is an example of meta-reflection on aria as a form of dramatic-musical expression). The multiple perspectives of the study are used to reveal the dramatic, stylistic, adaptive and philosophical complexity of Sapegin’s work and lead to the recognition of the capabilities of an animated film as an audiovisual medium that continually leads a creative dialogue with music as well as the potential of the puppet aesthetics at the beginning of the 21st century.

Cut App&play: um método coreográfico-audiovisual de emergência poética

<p class="p1">Resumo:<span class="Apple-converted-space"> </span></p><p class="p2">Partindo de uma formação eclética em dança e da experiência em <em>performance</em>, interessei-me cada vez mais por explorar a ideia de um pensamento coreográfico aplicado a estruturas audiovisuais interativas, e, nesta direção, realizei projetos em meios, como fotografia, Slow-Scan TV (SSTV), animação, música, vídeo, Motion Capture e Internet. Ao longo dos anos de pesquisa nesse trajeto foi delineando-se uma metodologia que inclui o desenvolvimento de dispositivos computacionais dotados de capacidades criativas, formuladas segundo parâmetros advindos da experiência da dança. Este artigo pretende ilustrar a perspectiva poética da pesquisa que toma o meio audiovisual como um “tubo de ensaio” de criação de movimento na qual articulações entre imagem e som “falam” ao corpo, e “saltam” de duas dimensões para três dimensões, ou seja, da tela para o corpo</p><p class="p3"><span class="s1">Palavras-chave:<span class="Apple-converted-space"> </span></span>Método criativo. Movimento. Coreografia. Audiovisual. Dispositivo computacional interativo.</p><p class="p3"> </p><p class="p3">CUT APP&amp;PLAY: A CHOREOGRAPHIC-AUDIOVISUAL METHOD FOR POETIC EMERGENCE</p><p class="p1"><em>Abstract:<span class="Apple-converted-space"> </span></em></p><p class="p5"><em>Abstract: Departing from an eclectic dance training, and from my experience as performance artist, I have been increasingly drawn to explore the application of choreographic thinking in interactive audiovisual structures and, in this direction, I have developed projects in media such as photography, Slow-Scan TV (SSTV), animation, music, video, Motion Capture and Internet. Throughout the years of research in this path, a methodology utilizing specially developed</em><span class="s2"><em> computational devices endowed with creative abilities, formulated by parameters from dance experience. This article intends to illustrate the poetic perspective of the research that takes the audiovisual medium as a “test tube” for movement creation </em></span><span class="s3"><em>in which articulations between image and sound “speak” to the body, and “jump” from two dimensions to three dimensions, i.e, from the screen to the body.</em></span></p><p class="p6"><span class="s1"><em>Keywords:<span class="Apple-converted-space"> </span></em></span><em>Creative Method. Movement. Choreography. Audiovisual. Interactive Computational Device.</em></p>

How Balkan Am I? Translation and Cultural Intimacy Through an Albanian-Greek Lens

Historiographers, anthropologists and cultural studies experts have shown that discussions of identity in or about the Balkans have been traditionally linked to a sense of ‘deficiency.’ Given the history of conflict, the drive towards greater European integration and the effects of the current economic crisis in the region, there is an urgency to deconstruct such ideologies. This article shows how Herzfeld’s (2002; 2005) approach to Balkan marginality may be productively extended to cover cultural and translation critique. Thus his concept ofcultural intimacyis applied to stories of migration. Two Greek works are examined: Gazmend Kapllani’s semi-autobiographic novelA Short Border Diary(2006), translated into English by Marie Stanton-Ife, and Filippos Tsitos’ filmPlato’s Academy(2009), subtitled into English. Both works have set a precedent in terms of audience reception and as documents of a historical cycle, the migration of thousands of Albanians to Greece after the collapse of communism. Translation and subtitling into English respectively show that the written and the audiovisual medium present different opportunities for conveying Balkan otherness.

How Politics on Television Has Changed

This chapter looks at content analysis evaluating the ways in which the visual content of television has changed since the inception of television news. By analyzing news programs that have aired continuously since the 1960s, it demonstrates that even within mainstream legacy media such as network news broadcasts, in-your-face politics is increasingly prominent. As an audiovisual medium, a television has effects that the same content would not produce if conveyed purely through audio or print. So regardless of whether politicians are any more rude and unpleasant than they were before, viewers experience incivility in a way that is far more noticeable and influential than it once was. Americans now see and experience political conflict from a perspective that was impossible in the past.