A AIM - Associação de Investigadores da Imagem em Movimento surgiu da vontade de reunir em Portugal, numa mesma entidade representativa, um conjunto de investigadores que têm em comum objectos e temas de pesquisa.
Notícias
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1.ª Edição do Seminário de Investigação Permanente da AIM
No dia 4 de Março de 2021, a AIM organiza a 1.ª Edição do Seminário de Investigação Permanente.
Com esta iniciativa a AIM pretende reforçar as ligações entre os seus associados independentemente do país ou continente em que se encontram. Assim, a sessão terá lugar online - via plataforma Zoom -, entre as 15 e as 18 horas, e conta com a exposição de duas investigações:
“Som no cinema português das décadas de 80 e 90: do artesão à industrialização” por Tiago Fernandes (UBI).
“Implicações entre jogos olímpicos e guerra: tomada e retomada dos arquivos em Chris Marker e Carole Roussopoulos” por Julia Fagioli (UFJF) e Glaura Cardoso Vale (UFMG).
Em breve divulgaremos mais informações. Fique atento!
A Direção
AIM
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Chamada para submissão de ensaios audiovisuais no Journal of Science and Technology of the Arts
O Journal of Science and Technology of the Arts, publicação indexada à Scopus, do Research Center for Science and Technology of the Arts (CITAR) integrado na Escola das Artes Católica Porto está a receber propostas de ensaios audiovisuais. Leia aqui como submeter uma proposta.
Open Call for audiovisual essay submissions
JSTA aims to create a conceptual discussion around the audiovisual essay, not only as a creative process but also as a pedagogical and academic tool, to generate concepts and criteria for evaluation and scientific consideration. (Please see a version of our first audiovisual essay here). Therefore, JSTA is open to submissions of original audiovisual essays made with films, excerpts and other moving images. Works can have up to 15 minutes and should provide original insights in areas such as film and audiovisual studies; media studies; contemporary art; social sciences. Works submitted should not have been proposed to any other academic publication, despite the possibility of dissemination in other circuits. The call will not be restricted to academic practitioners but the process of evaluation will follow its procedures. Each audiovisual essay should be accompanied by a research statement by the author (up to 1500 words), articulating research aims and the process of work. Each work will be submitted to an open peer-review process, in which audiovisual essay and author’s statement will be published alongside the reviewers’ critical evaluations of the work. After the submission acceptance, the author will be asked to provide a printable version of the audiovisual essay (selecting around 20 frames of the original work). Submissions should have: - a video file (MP4, with H264 codec), no longer than 15 minutes and with less than 500 Mb, - a word document with the research statement (up to 1500 words). Possible working topics: -The use of sound in mise-en-scène; -Cinema and technology; -Poetics of time and space; -Movement, ambience and colour; -Editing based film criticism; -The history of cinema and its rhymes; -Gestures and techniques of the audiovisual essay; -Desktop cinema; -The intersection of film and visual arts; -New paths of contemporary cinema; -Films inside films and cinematic universe clashes; -Audiovisual essay as a pedagogical tool; -Audiovisual essay and practice-based research.
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Prémios AIM 2021
Melhor Trabalho de Estudante de Pós-Graduação
PRAZO PARA SUBMISSÃO DE TRABALHOS
JÚRI DOS PRÉMIOS AIM 2021
Iván Villarmea Álvarez (Universidade de Coimbra)
Ana Isabel Soares (Universidade do Algarve)
Sérgio Dias Branco (Universidade de Coimbra)
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Call for papers: Ekphrasis - Images, Cinema, Theory, special issue "The Essay Film as Self-Representational Mode".
Atenção. Chamada de trabalhos do vol. 26, no. 2/2021 da revista académica Ekphrasis - Images, Cinema, Theory, com número dedicado ao tema "The Essay Film as Self-Representational Mode".
THE ESSAY FILM AS SELF-REPRESENTATIONAL MODEIssue editor: Fátima Chinita, Lisbon Polytechnic Institute, Theatre and Film School, Portugal In cultural anthropology, subjectivity is an inherent part of the human condition; our perception, affects and sense-making stem directly from it. It exists at an individual level because human beings are sentient and thinking subjects reflecting upon themselves and upon the context in which they are inserted. At a social level, subjectivity depends on large scale cultural formations which predetermine choices and behavioural patterns imbuing them with political overtones. In cinema, these two components of subjectivity may be expressed through what Lisa Lebow calls first person documentary films, which designate a mode of address and not a filmic genre: “[…] these films ‘speak’ from the articulated point of view of the filmmaker who readily acknowledges her subjective position” (2012, 1). These films include a broad range of practices: the essay film, the self-portrait and the video diary, among others. Historically, essay films have been directed at least since the 1920s and the cinematic masterpiece Man with a Movie Camera (Dziga Vertov, 1929) is actually placed in this category by many film theoreticians. From the 1970s onwards it proliferated across different geographies and cultures, spreading in the world cinema landscape. Generally considered a hybrid and creative form of cinematic expression, the essay film eludes a single and irrefutable definition, which makes it an interesting topic for research and ever more so nowadays that film is mixing with other sculptural art forms and invading the gallery and the museum. Commentators’ positions on the essay film vary in relation to its form as well as its contents and mission, but it seems relatively safe to perceive it as being located in a universal in-betweenness having to do with typology, artistic or ideological goal, documental or critical stance, narrative or factual condition, interstitial framing, and so on. Essay films, as a type of first-person cinema (although Laura Rascaroli in 2009 distinguished between these two film varieties), may be poetical or accented, artistic or political, personal (literally about a person or self) or collective (about a community of whatever sort), covertly or assumedly autobiographical, descriptive or reflexive. More than other films − which are per se authorial statements inasmuch as all works reflect their authors − these films are made to be explicitly about the filmmakers. “The matter of knowing ourselves or coming to consciousness about ourselves is not only a central ontological question […] but is also at the center of the project of self-representation” (Lebow 2012, 4). These films may range from the self-presentation of the author and/or their artistic praxis to the questioning of social realities subjectively perceived from the author’s perspective. In fact, for the purposes of this publication both are considered self-representation. Therefore, this journal issue will focus on essay films with a twofold perspective, simultaneously artistic and political/sociological. Using the concept of self-representation as ideology and dealing with authorial self-representation (a specific person/people, lives, family, internal experiences, artists’ professional engagement) and authorial ideological engagement (which corresponds to one's world vision through an ideological choice of form and contents), we are opening this call for papers as a way of writing about oneself in the world and writing about the world through oneself. Both perspectives can be made to coalesce, the essay film as an art form being the uniting factor, independently of the author's films main goal(s). We are aiming at a heterogeneous collection of transnational articles and accept both theoretical and/or practical study cases. We strongly encourage articles about world cinema and lesser-known filmic works, as well as articles with novel approaches. Possible topics of interest include, but are not limited, to the following: (a) Artistic Films: the art, the medium. · Self-reflexive forms and practices of the essay film. · Poetics and personal methodologies of the essay as pedagogic strategies. · Essay film as an in-between cinematic position. · Self-representation in contemporary audiovisual art/culture. · Essay films about film/art and authorial creativity. · Reception and relationship with film viewers. · Essay films for galleries and museums. · The essay film across disciplinary borders. (b) Subject Films: the personal, the familiar, the cultural. · Autobiographical representations and self-examination. · Affinities/divergences with the self-portrait. · The self in memories or the archive. · Branding: self-representation and authorship. · Female, queer and minorities’ creative gestures. · Self-consciousness and the body. · First-person cinema and video confessions. (c) Accented films: ideology and politics. · Gendered, postcolonial, diasporic, political cinema. · Contesting/interrogating the world through the self. · Relationship with other branches of knowledge. · A world phenomenon dealing with local or transnational themes. · Dialectic arguments: thesis and antithesis. · The essay film as an instrument of change. · Socio-political interests of the author. Guide for authors: The language for this issue of the journal is English. All articles need to be proofread by a native English speaker before being sent to the journal Articles: 5,000-9,000 words, including a 300-word abstract, 5-7 keywords, a list of references, plus footnotes. Notes should be used with frugality; if something is worth saying, it usually is worth saying in the text. Book reviews 2,000-3,000 words. The books you propose must be recent. Both the proposal and the final text should observe the submission guidelines to be found on the journal’s website: https://www.ekphrasisjournal.ro/index.php?p=subm. Deadline proposals (250 - 300 words): April 5. Acceptance notice: April 20. Final submission deadline: July 30. We recommend that articles be sent before this date. Authors must be prepared for quick rewrites in September and October. Publication date: December 2. Send your submissions to: chinita.estc@gmail.com
- Novidade Livro: Women in the International Film Industry
Cultura Visual Digital
Responsáveis
NOGUEIRA, Luís; ALVES, Marta Pinho;
História do Cinema Português
Responsáveis
RIBAS, Daniel; BENIS, Rita;
Cinemas em Português
Responsáveis
TAVARES, Mirian; CRUZ, Jorge Luiz; MENDONÇA, Leandro;
Paisagem e Cinema
Responsáveis
VILLARMEA ÁLVAREZ, Iván; ROSÁRIO, Filipa; RIBEIRO, Ana Costa;
Outros Filmes
Responsáveis
RODOVALHO, Beatriz; BLANK, Thaís; MULLER, Maria Ganem;
Teoria dos Cineastas
Responsáveis
PENAFRIA, Manuela; GRAÇA, André Rui; BELLO, Maria do Rosário Lupi;
Narrativas Audiovisuais
Responsáveis
PALINHOS, Jorge; CASTRO, Maria Guilhermina; CHINITA, Fátima;
O Cinema e as Outras Artes
Responsáveis
ROSA, Liliana ; CARVALHO, Victa; PALEOLOGO, Diego;
Cinema e Educação
Responsáveis
MENDES, Elsa Maria Carneiro; MOREIRA, J. António; ALVES, Pedro;
Cinemas pós-coloniais e periféricos
Responsáveis
CUNHA, Paulo; SALES, Michelle; LEROUX, Liliane;
Cinema e Materialidades
Responsáveis
CUCINOTTA, Caterina; MORAIS, Ana Bela; SOUZA, Nívea Faria;
Cinema, Música, Som e Linguagem
Responsáveis
RUIZ, Carlos ; Faleiro Rodrigues, Érica; CAPELLER, Ivan;