The Audiovisual Turn of Recent Korean Documentary Cinema: The Time-Image, Place, and Landscape

This article discusses several documentary films since the 2010s that portray the place and the landscape related to Korea's social reality or a personal or collective memory of its past, classifying their common trope as the “audiovisual turn.” The trope refers to the uses of the poetic and aesthetic techniques to highlight the visual and auditory qualities of the images that mediate the landscape or the place. This article argues that the films’ experiments with these techniques mark formal and epistemological breaks with the expository and participatory modes of the traditional Korean activist documentary, as they create an array of Deleuzian time-images in which a social place or natural landscape is reconfigured as the cinematic space liberated from a linear time and layered with the imbrication of the present and the past. The images, however, are read as updating the activist documentary's commitment to politics and history, as they renew the viewer's sensory and affective awareness of the place and the landscape and thereby render them ruins.

CINEMATIC SPACE STUDIES OF KOMPLEK SUSTER-SUSTER ST. FRANSISKUS IN SEMARANG

- Cinema and Architecture are two art media that dependent on some human senses to give experience and define space compared of other art medium. These two media have been trying to show and convince film viewers or architecture users as a work of art. Both have quality value that will be higher if they can be as close to reality. However, architecture tend to use visual but lack of emotions. As a result, buildings left us as only a viewers without invite us to engaged. Therefore, from cinema to architecture, the thinking of thematic conditions of architecture can be brought together with conceptual, contextual, architectonic, and technical. Ave Maryam (2020) is a film that takes place in Semarang, and Kompleks Susteran St. Fransiskus is the main setting that interesting to studied. From each scene it can clearly describe space with a visual composition to convey a strong spatial experience. Departing from an approach to cinema that is parallel to architecture so that the audience can experience spaces outside the formal architectural experience. The purpose of this study is to identify cinematic themes that can be discussed and reconstruct the cinematic space as a search for understanding the potential and meaning of cinematic in Kompleks Kesusteran St. Fransiskus based on the film Ave Maryam (2020). By using a qualitative descriptive method, from data that achieved by literature studies and film observations. It can be concluded that the existing approaches to architecture and cinema from Ave Maryam (2020) can be interpreted to build a concept that achieves the beauty and experience experienced in architecture such as watching the film. Key Words: cinematic, architecture and film, cinematic approach, Ave Maryam, Komplek Kesusteran St. Fransiskus, Semarang.

Drift

The directionality and intentionality inherent in the previous tensive motifs break down in the case of the movement of characters in environments without gravity. The chapter ‘Drift. Ungraspable environments’ adopts an ecological approach to visual perception based on James Gibson’s concept of affordance and analyses a series of cinematic ‘space walks’ (with particular reference to Alfonso Cuarón’s Gravity). The weakening of the human capacity to intentionally grasp objects and to have a stable sense of one’s own body in space, which is characteristic of the space-exploration genre, shows that the ‘sense of the void’ experienced on a psychophysical level also affects the spectator in symbolic terms.

USING DIGITAL MONTAGE TO BUILD A FREE CHARACTER

Montage is one of the basic elements in cinematographic work, as it is a second production process for the work in terms of composition, habit of formulation, interconnection between shots and scenes, and also added the element of sound, special effects and color correction ... etc., due to the characteristic of this digital technique in manipulating all the elements of the image in a creative way in all Elements of work, such as decoration, accessories, adding fictional scenes ... etc., and converting them to the computer, and then acting on them through the montage completely, but this is in the field of image and sound, but there are fictional films that need to make characters who are compatible with nature, and possess capabilities Superhero and has the ability to transform into virtual bodies within the artistic work, and insert them into the cinematic space, in order to perform the functions with the rest of the elements of the cinematic medium as well as the elements of the dramatic construction, so all of the above of this the researcher raises the following question: (How is digital montage employed? In building a fictional character)? The research came as follows: Methodological framework: It includes the research problem, its importance and objectives, as well as the limits of research and the definition of terminology. The theoretical framework: It was divided into two topics as follows: The first topic: the concept of digital montage, the second topic: the fictional character: After that, the researcher reached the indicators of the theoretical framework. Research procedures: It included the research method, the research community, the research sample, the research tool, the analysis unit, and the sample analysis, which was the film (X MEN) according to the indicators that the researcher came out with from the theoretical framework. After analyzing the sample, the researcher came to a number of findings and conclusions, including: 1. The digital montage, through its advanced software, possesses the ability to create a fictional virtual character and activate its potential in the cinematic movie. 2. Digital montage can be employed after dispensing with many traditional techniques at the level of photography or montage, as well as building space and time.

The rhetoric of ecology in the post-apocalyptic cinematic landscape

Contemporary post-apocalyptic films portray a world ravaged by ecological catastrophes, and humanity on the brink of extinction. Such films echo the urgent environmental discourses of the Anthropocene, while offering instances of a post-anthropocentric perspective and the new subject-formations it engenders. The article argues that the central rhetorical device that generates an ecocritical perspective in such films is the post-apocalyptic landscape. Cinematic space shapes the meaning of all films, and this is even more emphatic when setting is transformed into landscape (Lefebvre 2006). What is more, in the post-apocalyptic films, the landscape becomes the main site of the films’ “rhetorical enviromentality” (McMurry 2017). The article examines the post-apocalyptic landscape in I Am Legend (2007) and Mad Max: Fury Road (2015) and how it articulates the entangled relation between humans and the collapsing world that surrounds them. Using Rosi Braidotti’s (2013) post-human theory, I contend that these cinematic landscapes hint at an “eco-philosophy of multiple belongings” (Braidotti 2013, 49) and enact “a process of redefining one’s sense of attachment and connection to a shared world” (Braidotti 2013, 2019). Ultimately, I conclude that the affective appeal of these landscapes implicates the viewer in post-anthropocentric perspectives, thus prompting new modes of environmental consciousness.

The Projector's Noises: A Media Archaeology Of Cinema Through The Projector

This dissertation provides a media archaeology of the film projector, concentrating on the conceptualization and use of projector noise through the lens of the modernist and contemporary avant-garde, that offers new ways of understanding cinema, interpreting embodied cinematic space, and extending the discourse on audiovision in general. Looking toward the projector allows us to see how it is a productive labourer in the construction of cinematic experience. Listening to its noises— which have been framed as insignificant and/or unwanted—allows us to understand the way cinema is in fact a performative art with a certain kind of liveness. Part One of this dissertation traces an alternative history of cinema focused on the projector beginning with the pre-cinema technologies of the camera obscura, the telescope and the magic lantern. Part Two analyzes how the avant-garde has engaged with the projector-as-instrument during three major technological transitional moments in cinema: first, early cinema and the rise of the Cinématographe by looking at the Italian futurists, specifically Arnaldo Ginna and Bruno Corra’s interest in the projector-as-instrument and the relationship between the Cinématographe and Luigi Russolo’s

The Projector's Noises: A Media Archaeology Of Cinema Through The Projector

This dissertation provides a media archaeology of the film projector, concentrating on the conceptualization and use of projector noise through the lens of the modernist and contemporary avant-garde, that offers new ways of understanding cinema, interpreting embodied cinematic space, and extending the discourse on audiovision in general. Looking toward the projector allows us to see how it is a productive labourer in the construction of cinematic experience. Listening to its noises— which have been framed as insignificant and/or unwanted—allows us to understand the way cinema is in fact a performative art with a certain kind of liveness. Part One of this dissertation traces an alternative history of cinema focused on the projector beginning with the pre-cinema technologies of the camera obscura, the telescope and the magic lantern. Part Two analyzes how the avant-garde has engaged with the projector-as-instrument during three major technological transitional moments in cinema: first, early cinema and the rise of the Cinématographe by looking at the Italian futurists, specifically Arnaldo Ginna and Bruno Corra’s interest in the projector-as-instrument and the relationship between the Cinématographe and Luigi Russolo’s

The crystal reveals the whole: medieval dreamscapes and cinematic space as virtual media

This article examines the rich visual culture of the medieval period in order to better understand dreaming as a kind of visual thought experiment, one in which ideas associated with cinema, such as embodied viewing, narrative sequencing, projection, and sensory engagement, are palpable in a range of visual and literary works. The author explores the theoretical connections between the oneiric qualities of cinema and the visual culture of medieval dreams, dealing in turn with the following themes: (i) media and mediation; (ii) projection and premonition; (iii) virtual spatiality; and (iv) automata and other animated objects. The wide swath of medieval literary dream texts, with their mobile perspectives, sensory plentitude, and gnostic mission, resonate with the cinematic in the structuring of the gaze. Investigating the codes of medieval culture provides us with an unusually rich episteme for thinking about how the dreamscapes of the Middle Ages evoke media dispositifs. Opening up these thought lines across distinct eras can help us extrapolate similarities around ways of imagining objects, spaces, sensations of embodied viewing or immersion, reminding us that our contemporary cinematic and digital landscapes are not divorced from earlier ways of seeing and believing. Whether stoking religious fear and veneration or providing sensual pleasure as in Le Roman de la Rose, the dreamworlds of the Middle Ages have bequeathed us a number of an extraordinarily rich creative works that are the imaginative building blocks of media worlds-in-the-making, as speculative in many ways as current discourses around new media.

Cinematic Spaces of ‘the Arab Street’ : Mohamed Diab’s Inverted Road Movie Clash (2016)

This chapter examines how cinema challenges and inverts traditional spaces of social upheavals, such as streets and squares, in their capacity to be spaces of knowledge and solidarity, in conceptualizing them as enhanced media-sensible spaces. Through a close reading of Mohamed Diab’s feature film Clash (2016), I foreground the idea of the truck as a cinematic space predicated on its ability to accommodate movement, both in a literal and a metaphorical sense. This allows for a discussion of cinematic spaces of the so-called ‘Arab street’, created by both mise en scène and cinematography that go against the more prevalent images of street fights and mass demonstrations as seen in documentaries about the popular upheavals in the Middle East and North Africa region since 2009.