International Journal of Film and Media Arts https://revistas.ulusofona.pt/index.php/ijfma <p>The International Journal of Film and Media Arts is a semiannual publication focusing on all areas of film and media arts research and critique.</p> Lusófona University en-US International Journal of Film and Media Arts 2183-9271 Editorial - Contextualising the Transversal Entanglement Conference and Contributions in this issue https://revistas.ulusofona.pt/index.php/ijfma/article/view/8422 <p>This special issue is the result of two processes that approach artistic research from the domains of artistic practice in film and its implications for research in film education institutions. The first part of the editorial describes the impetus for the conference Transversal Entanglement - Artistic Research in Film organized and hosted by the Institute for Artistic Research IKF1 at Film University Babelsberg, with considerable support from GEECT2, which took place from 3-5 June 2021 - on site and online. The second was through an open call for papers on the topic of artistic research in film and audiovisual media which aimed to augment and expand the scope of the submissions generated from the conference.</p> Gesa Marten Jyoti Mistry Copyright (c) 2022 IJFMA http://creativecommons.org/licenses/by-nc/4.0 2022-10-09 2022-10-09 7 1 4 10 A Pile Of Ghosts: A Cinematic Heterotopia of Spectral Urbanization https://revistas.ulusofona.pt/index.php/ijfma/article/view/8423 <p>A Pile of Ghosts (2021) is an artistic hybrid film in-between fiction and documentation created through the process of the art based research project Of Haunted Spaces. This research on Chinese ghost cities was a journey in exploring locations and looking for protagonists for the film, that would embody the urbanization processes surfaced as the phenomena of haunted cities by the spectral production of capitalism. As the process of filmmaking goes, settings and castings are staged to re-enact situations that have been observed during the field trips that were undertaken in many parts of China. The search for the unknown narrative keeps modifying and displacing the semantics of the film script. Therefore, in A Pile of Ghosts the line between documentary and fiction, a discursive space, is created in which facts, analyses and references are fused. This is not only to scrutinize the social reality and to render its discourse, but also to foster an aesthetic dimension from reexamining the convention of filmmaking and its representations. It is the method of a performative documentary to enact and re-enact situations and sites to reveal the contradictory characteristics of global urbanziation. The research process is transformed into the making of the film from field research to scriptwriting and casting. The protagonists are appearing in changing roles as construction workers, real estate agents, and investors to enact the realities of capitalism. On the threshold between the visible and the invisible, the haunting ghost of capitalism is materializing in the poiesis of the film, lurking in the limbo zone of fiction, reality and the performative.</p> Ella Raidel Copyright (c) 2022 IJFMA http://creativecommons.org/licenses/by-nc/4.0 2022-10-03 2022-10-03 7 1 11 26 Reenactment as Social Action: The Making of Encierro https://revistas.ulusofona.pt/index.php/ijfma/article/view/8424 <p>On 30 July 1984, 11 mercury miners locked down in the mines of Almadén (Ciudad Real, southern Spain) to protest against their precarious economic and social conditions. 650 meters deep inside the oldest and most productive mercury mines in world’s history, the miners endured the dark and contaminated galleries for 11 days and nights until their claims were addressed. As an emigrated local filmmaker, I come back to post-industrial Almadén in 2019 with the idea of making a documentary reenactment film about the mining strike. The premise is to find young locals willing to live inside the now-closed mines for 11 whole days to homage the old miners and recreate the experience of 1984, 35 years later. Apart from engaging our collective mining past, performing the form and duration of a previous workers strike, Encierro proposes the underground as a living and symbolic space to foster a series of conversations, encounters, and social and political propositions to reimagine Almadén, which rose from a mine shaft more than 2000 years ago, as ‘something else besides’ a mining town.</p> <p>This article explores the potential of documentary film shooting to take on a different relationship to normal life than the same or similar events would have as “untransformed reality” (Goffman, 1974, p. 175) - a strike versus the reenactment of a strike – and its potential for activism and social transformation. I will also explore the use of the conditional tense in documentary; a speculative and hypothetical approach to reality sensitive to the ‘potentially’ real, the ‘possible’, and the ‘what if’ as modes of documentation. What happens when the forms of ‘documentary’ and ‘reenactment’ are exceeded, and act upon the world rather than only represent it?</p> Arturo Delgado Pereira Copyright (c) 2022 IJFMA http://creativecommons.org/licenses/by-nc/4.0 2022-10-03 2022-10-03 7 1 27 47 The Blod Method: Case Study of an Artistic Research Project in Film https://revistas.ulusofona.pt/index.php/ijfma/article/view/7992 <p>The BLOD project aims to create multivocal cinematic experiences through embodied practices. The research explores relation- building through a feminist methodology of creating gaps and friction – between audience, story, time, matter, and co-creators. The project asks, how to tell multifaceted, non-exploitive stories of womb-related states of life and death, rarely depicted in cinema? And how to disturb film industry hierarchies through a collaborative practice that maintains individual artistic integrity and promotes collective authorship?</p> <p>The BLOD method is articulated as a Manifesto, written to accommodate a multitude of contents, forms, and modes of collaboration, while demanding cross-disciplinarity, honesty and risk-taking. The method is non-linear, looping, and embedded in the manifestations of the research: films, performances, presentations, etc. Through this paper, different aspects of the BLOD method are tossed around in relation to BLOD research activities; making cinematic building blocks that allow and induce multiplicity, improvisation, and fluidity of form; sharing personal experiences through fictionalized documentary processes; dealing with ethics in interpersonal and ecological relations.</p> <p>The paper proposes that critical reflection and vulnerability are integral to film production and offers this case study as an example for method development in other research projects or films – especially ones that sprawl, tangle, and defy categorization by field or discipline.</p> Kersti Grunditz Brennan Annika Boholm Copyright (c) 2022 IJFMA http://creativecommons.org/licenses/by-nc/4.0 2022-10-03 2022-10-03 7 1 48 74 Reflections Around Comic Gaze: From the Female Gaze in the early years of Cinema to the Performance Servitudes, By Jesper Just https://revistas.ulusofona.pt/index.php/ijfma/article/view/7993 <p>This article has as its main objective to reflect on the influences of the female defiant gaze in the early years of cinema history in order to prove its contemporary influence. From the analysis of three irreverent visual gags present in the early years of cinema, in which the woman breaks with the power of the camera by looking directly at the device - Subject for the Rogue ‘s Gallery (A.E. Weed, 1904), Mary Jane’s Mishap [Don’t Fool with the Paraffin] (George Albert Smith, 1903), and One Week (Buster Keaton, Edward F. Cline, 1920) -, we propose a theoretical reflection that allows us to define a concept that we call Comic Gaze. This is related to the concerns and proposals of the challenge imposed by the gaze of a woman directly at the camera. We base this problematization on Laura Mulvey’s proposal on the Male Gaze (1975) and bell hooks’ on the Oppositional Gaze (1992), which allow us to advance that this direct gaze of the woman to the cinematographic camera ends up destabilizing the authority of the male perspective on their bodies and works as a logic of visual resistance. Therefore, the central objective of this article is to investigate and contrast this irreverent gaze in order to finally understand if it is still present in contemporary performance Servitudes (Jesper Just), connecting these distinct works despite the temporal distance between them.</p> Samantha da Silva Diefenthaeler Carla Cerqueira Copyright (c) 2022 IJFMA http://creativecommons.org/licenses/by-nc/4.0 2022-10-03 2022-10-03 7 1 75 93 The Cinema of Extractions: Film as Infrastructure for (Artistic?) Research https://revistas.ulusofona.pt/index.php/ijfma/article/view/7998 <p>In contemporary discussions of film and artistic research, the historical undercurrent of film as an intense research and development activity, does not seem to be widely discussed. In contrast, film history and media archaeology has since long re-evaluated the status of early moving image technologies, which do not any longer denote pre-cinematic curiosities that simply predate the institution of cinema and its narrative forms but is rather seen as containing socio-technical trajectories and aesthetic regimes that can be studied in their own right. This essay performs a further modulation of the legacies of film history, one in which moving image technology is not seen as primarily a vehicle for film as cinema, but a continuously evolving technological and aesthetic infrastructure for film as research. This then becomes the starting point from which to reflect on artistic research in film, which today is being institutionalized as a form of practice-based research, arguably with the risk of loosing sight of an already long-established tradition of film, not only as research but also as artistic research.</p> <p>With the aid of an accompanying desktop video essay, the article speculates on the changing contexts of film as research visà-vis film as artistic research, from early cinema and its connection to scientific discoveries and the advanced data-analysis of today’s streaming platforms. Inspired by “The New Film History” and Tom Gunning’s influential notion of “The Cinema of Attractions” which revised the view on early cinema and the development of a filmic avant-garde, the presentation eventually focuses on artistic responses to the contemporary “Cinema of Extractions”, as a datafied infrastructure that now conditions what is knowable and sayable through the moving image.</p> Kristoffer Gansing Copyright (c) 2022 IJFMA http://creativecommons.org/licenses/by-nc/4.0 2022-10-03 2022-10-03 7 1 94 114