International Journal of Film and Media Arts <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 The same as It ever was ….? A Chance for Creating New Qualities in our Exchanges <p>(...) Since then, the academic world has undergone some radical changes, and the process is not near its conclusion. Academia is a very close-knit environment, proud of its conditions and requirements, methods, and procedures. Still, the impact of the Covid-19 pandemic is providing unexpected possibilities to develop, question and reform central elements of it.</p> Holger Lang Copyright (c) 2021 International Journal of Film and Media Arts 2021-12-31 2021-12-31 6 3 7 16 Hitting Where It Hurts: Absurdity as an Artistic Method <p>This article frames absurdity as an artistic method related to the context of an artwork’s making. The artworks introduced here are (very broadly) situated at the interface between animation and documentary. Their absurdity is not a matter of their content, but is deeply inscribed in the process of their making. Though they do not explicitly address political questions, they strike at the heart of given power systems or established hierarchies and thus hit where it hurts. “Make it absurd!” is a way of transgressing standards and norms and thus undermining established power relations. The article offers close-readings of a small number of contemporary artworks that can be apprehended as stimulating examples of how absurdity as a method deploys its critical potential. As the examples demonstrate, disrupting a given context can be achieved in many ways: By “inflating” formal devices in order to subvert typical elements of televisual language from inside-out (House by Andy Birtwistle, Great Britain 2013); by rendering a source text (and not just any text!) literally unreadable by investing an enormous amount of time to its dismantling (‘On the Road’ by Jack Kerouac by Jorge Lorenzo, Mexico 2013); by hijacking a male masterpiece and placing the “copy” as well as the female appropriator at the same level as the “master” (A Movie by Jen Proctor by Jen Proctor, USA 2010); by demonstrating that the technique of animation itself bears the mark of the absurd (Anna Vasof’s series of works, gathered under the headings of Non-stop Stop-motion and Muybridge’s Disobedient Horses, Austria, 2017–); and finally, via a method called “slapstick avant-garde,” by launching an attack on purist self-restraint (Dont Know What by Thomas Renoldner, Austria 2019).</p> Gabriele Jutz Copyright (c) 2021 International Journal of Film and Media Arts 2021-12-31 2021-12-31 6 3 17 36 The Abstracted Real: Speculations on Experimental Animated Documentary <p>Max Hattler is an artist, researcher, curator and educator who works with abstract and experimental animation, video installa­tion, and audio-visual performance. After studying in London at Goldsmiths and the Royal College of Art, he completed a doc­torate in fine art at the University of East London. He is an assistant professor at the School of Creative Media, City University of Hong Kong. Hattler’s work has been shown worldwide, receiving prizes from Annecy Animation Festival, Prix Ars Electronica, Montreal Festival du Nouveau Cinéma, Punto y Raya Festival, Cannes Lions and London International Animation Festival, among others. He has published on expanded stereoscopic approaches in experimental filmmaking and the narrative potential of abstraction in animation. He has spoken widely at international conferences such as CONFIA, the Society for Animation Studies Conference, Animafest Scanner, Ars Electronica’s Expanded Animation Symposium and the Annual China Animation Studies Conference in Chengdu. Max Hattler is the co-founder and chairman of Relentless Melt, a Hong Kong-based society for the promotion, production and dissemination of abstract and experimental animation, which presents screenings in Hong Kong and internationally. He serves on the board of directors of the iotaCenter and the editorial boards of <em>Animation: An Interdisciplin­ary Journal</em>, and <em>Animation Practice, Process &amp; Production</em>.</p> Max Hattler Copyright (c) 2021 International Journal of Film and Media Arts 2021-12-31 2021-12-31 6 3 37 54 AYAH - Sign: Collaborative Digital Art With The Grenfell Communities <p>Coinciding with the one-year anniversary of the Grenfell tragedy, local artistic practitioners Oliver M. Gingrich, of media art plat­form ART IN FLUX, and artist researcher Sara Choudhrey, curated a series of workshops and events as part of the project AYAH – Sign. Significantly, the project places collaboration at all stages of its conception, implementation, and its outcome. Members of the local community and the wider general public were invited to explore new forms of artistic practice with a focus on Islamic pattern-making. These practice-based community-focused activities contributed towards a collaborative digital artwork, publicly displayed as a site-specific installation opposite the Grenfell Tower site. The participatory activity and artwork were designed to bring the community together in a time of need, to provide mutual support through joint creative engagement. Social con­nectedness, i.e. the experience of belonging, and relatedness between people (Van Bel et al 2009), is becoming an increasingly important concept in the discussion of social benefits of media including participatory art practices (Bennington et al. 2016). This paper reflects on the potential for art to bring communities together, to contribute to wellbeing and social-connectedness and providing a more inclusive experience for a range of community members. The project was conceived within the context of deeper research into participatory art and its potential to contribute to mental wellbeing, providing social cohesion for com­munities and acting as a creative support strategy in times of need. Collaborative art practices, such as AYAH - Sign, not only inspires further creativity among local residents through collaborative engagement, but also encourages community members to reconnect both physically and emotionally with one another.</p> Oliver Mag Gingrich Sara Choudhrey Copyright (c) 2021 International Journal of Film and Media Arts 2021-12-31 2021-12-31 6 3 55 66 Dance, Long Exposure and Drawing: An Absurd Manifesto about the Female Body <p>This paper summarises the evolution and production process of <em>Kam</em>, a long-exposure pixilation/ 2D animation film with a unique aesthetic approach that took three years to formulate and complete due to an iterative/fragmented production schedule. <em>Kam</em>, which means “shaman” in old Turkish, was conceived as a response to the rise of conservative and misogynist official discourse in Turkey, and it features a woman’s fierce dance. For this film, Turkish dancer Sevinc Baltali’s improvised performance was captured by the author using the technique of long-exposure photography. Condensing the motion of the dancer, the still frames created a flowing image on screen in which the dancer’s body is sometimes hardly perceivable. The dance flow was then recreated to the music of Amolvacy, an underground New York band featuring a modern interpretation of tribal music. Finally, the manifesto of the film was reinforced by adding another layer, this time of primitive drawings by the author, on top of the images, creating a more pronounced expression of the anger and the rebellious energy of the female body.</p> <p>This article argues that the unique aesthetics of the film attained at the end of an iterative and fragmented production process allowed a multi-layered liminal space for meaning to emerge. By elaborating on the relationship between the aesthetic approach, the political stance and the production methodology of this film, this article aims to demonstrate how animation can create an evocative and visceral experience that highlights and communicates what Herzog (2010) defines as “ecstatic truth”.</p> Zeynep Akcay Copyright (c) 2021 International Journal of Film and Media Arts 2021-12-31 2021-12-31 6 3 67 84 C: (Maintenance) Animation is a Drag: It takes all the f****** time* <p>Animation and motherhood are parallel acts. There are striking overlaps between animation practices and the maternal time of maintenance and caregiving: repetitive acts and gestures, interruption, incremental and elongated time, the embodied experience of slow mundane practices, the durational drag of staying alongside something or someone. The pooled time of caregiving and maintenance, and the pooled time of animation production have a lot in common. In this paper, I want to pull apart some of the ways that an expanded animation practice-as-research shows how animation’s formal self-reflexiveness and media specific histories can start to reveal where value is placed (and not placed) on the time of their shared invisible labours. Possibilities emerge from thinking these invisible labours together, revealing the problematics of what constitutes a rightful subject or object of mothering, and what can be said to constitute animation.</p> <p>* Mierle Laderman Ukeles. Maintenance Manifesto, 1969! Proposal for an exhibition “CARE,” 1969.</p> Orla Mc Hardy Copyright (c) 2021 International Journal of Film and Media Arts 2021-12-31 2021-12-31 6 3 85 95