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&nbsp;areas of film and media arts research and critique, namely&nbsp;animation, television, media arts, videogames, fine arts, sound and their varied social and cultural forms of expression and materialization.</p> Lusófona University en-US International Journal of Film and Media Arts 2183-9271 <p>Authors who publish with this journal agree to the following terms:<br>a) Authors retain copyright and grant the journal right of first publication with the work simultaneously licensed under a <strong>Creative Commons Attribution License</strong> that allows others to share the work with an acknowledgement of the work's authorship and initial publication in this journal. Read more at http://creativecommons.org/licenses/by-nc-sa/4.0.<br><br>b) Authors are able to enter into separate, additional contractual arrangements for the non-exclusive distribution of the journal's published version of the work (e.g., post it to an institutional repository or publish it in a book), with an acknowledgement of its initial publication in this journal.<br><br>c) IJFMA is run and subsidised by the Film and Media Arts Department of Universidade Lusófona de Humanidades e Tecnologias, Lisbon, Portugal. <strong>Authors are not requested submission or processing fees</strong>. Under open access politics, articles are fully available upon publication. Authors are permitted and encouraged to post their work online (e.g., in institutional repositories or on their website) prior to and during the submission process, as it can lead to productive exchanges, as well as earlier and greater citation of published work (See The Effect of Open Access).</p> Augmented reality to enhance non-opposite reality awareness https://revistas.ulusofona.pt/index.php/ijfma/article/view/7153 <p>Lexicon allows particular cosmovisions built up with varied semantic, formal and pragmatic-discursive relations (Coseriu, 1991; Teixeira, 2005). In teaching context, these variations are often replaced by dichotomous and decontextualized proposals of lexical organisation (Baptista et al., 2017). We hope changing some teaching practices, based on complex lexical relationships research, and on new didactic resources.<br>Firstly, we account for the diversity of existing lexical relations (Choupina et al., 2013), considering different linguistic criteria (Lehmann &amp; Martin-Berthet, 2008). Then, we present an exploratory study to see if primary school pupils’ mental lexicon is intuitively organised in a dichotomous way. Departing from three bimodal narratives where words show opposition relations, although not exclusive, within the story, sometimes oppositional relations become similarity relations. These relationships allow to group words such as word class, worldviews, socio-cultural references.<br>Although this approach starts with antonyms and synonyms in second-grade classes (according to Portuguese primary school curriculum, Buescu et al., 2015), we registered varied students’ responses, reflecting a mental lexicon escaping the dichotomy of certain oppositions taught in a decontextualized way.<br>Thirdly, we propose an augmented reality tool that allows children (and adults) to watch visual narrative representing actions from written narratives. As a matter of fact, within particular contexts, words may not relate to each other in an opposite way. If intuitive knowledge on words isn’t confined to rigid perspectives, teaching shouldn’t lead that way, but to promote a critical thinking approach supporting education for citizenship.</p> Adriana Baptista Celda Morgado José António Costa João Azevedo Copyright (c) 2020 http://creativecommons.org/licenses/by-nc/4.0 2020-07-01 2020-07-01 5 1 48 61 Uncovering literacy practices in the game Total War: Shogun 2 with a contract-agency model https://revistas.ulusofona.pt/index.php/ijfma/article/view/7152 <p>This paper showcases how the Contract Agency Model can be used to uncover literacy practices in videogame’s own terms as a complement to existing, more ‘indirect’ games literacies, using as an example the videogame Total War: Shogun 2. The paper first situates the Contract Agency Model within approaches to videogames and within approaches to media literacy. The paper then identifies three interesting literacy practices in the videogame, which also exemplify the eight levels of abstraction of the Contract Agency Model. The paper concludes by discussing the model’s implications to media literacy and videogames, namely that videogames effect a second-order mutual signalling with their players – agency as a conversation of commitment to meaning – that is humanizing of those players, and that the model can uncover this as an implicit contract of bio-costs, as a ‘direct’ literacy of videogames, i.e. a literacy in videogames’ own terms.</p> Pedro Pinto Neves Leonel Morgado Nelson Zagalo Copyright (c) 2020 http://creativecommons.org/licenses/by-nc/4.0 2020-07-01 2020-07-01 5 1 36 47 ‘Videogametism’: Consolidating the recognition of video games as an art form https://revistas.ulusofona.pt/index.php/ijfma/article/view/7151 <p>Because video games are still considered ’low culture’ by many whilst being one of the most important art forms of the XXI century, this pa­per proposes a new concept for the field of game studies with the main goal of being a useful tool for the consolidation of the artistic recognition of the medium. A few countries have officially recognized video games as an art form and im­plemented legislation to support video game artists and their work; unfortunately, many gov­ernments still do not recognize this artistic field. For video games to achieve a widespread artistic legitimation it is necessary more critical thinking and institutional validation. The proposed neolo­gism – ‘videogametism’ – is an appropriation of the Eisensteinian concept of ‘cinematism’ and, as Sergei Eisenstein’s legitimation term, ‘videog­ametism’ intends to support the recognition of video game artistic status, asserting that all art forms are present in this medium and that some artistic artifacts are ‘videogamatic’.</p> Marco Fraga da Silva Copyright (c) 2020 http://creativecommons.org/licenses/by-nc/4.0 2020-07-01 2020-07-01 5 1 24 34 Empowerment and ownership in intellectual disability gaming https://revistas.ulusofona.pt/index.php/ijfma/article/view/7150 <p>As with other populations, the usage of games by people with Intellectual Disability (ID) has been increasingly approached by research. Notwithstanding, the role of games in the lives of people with disabilities tends to be studied through a categorical picture that emphasizes its therapeutic characteristics and neglects games as recreation and as a form of cultural expression. The present work aims to review the main research outcomes of the last 10 years in the field of gaming and ID. It presents an analysis of the main research objectives and approaches to gaming adopted in the analysed studies, as a path to reflect on two specific concepts: empowerment and ownership. Therefore, a Systematic Literature Review (SLR) methodology, accompanied by statistical and content analysis procedures, was adopted to analyse a sample of 61 peer-reviewed research papers (2010-2020) in this field. The obtained results emphasize the passive role of individuals with ID in games research, with gaming mainly seen through therapeutic our game-based learning approaches. The presented reflection on inclusive research, through the parallelism between game studies and critical disability studies, also highlights that the access to games, as a cultural expression, for people with ID could foster the inclusion of these individuals in the public sphere, both in media and in the democratic civic structures. The produced insights intend to frame future approaches that situate the potential of games and their accessibility as strategies to decrease environmental barriers and hindrances that people with ID face in their specific contexts and foster inclusion.</p> Carla Sousa Copyright (c) 2020 http://creativecommons.org/licenses/by-nc/4.0 2020-07-01 2020-07-01 5 1 14 23 Cover and Contents https://revistas.ulusofona.pt/index.php/ijfma/article/view/7146 Anna Coutinho Copyright (c) 2020 http://creativecommons.org/licenses/by-nc/4.0 2020-07-01 2020-07-01 5 1 1 3 Editorial https://revistas.ulusofona.pt/index.php/ijfma/article/view/7147 Filipe Luz Conceição Costa Copyright (c) 2020 http://creativecommons.org/licenses/by-nc/4.0 2020-07-01 2020-07-01 5 1 4 5