Editorial
Editorial | Table of Contents 2021
Abstract
AVANCA | CINEMATitle: Avanca | Cinema 2021
Coordination: António Costa Valente
Executive production: Moghadaseh Rouhi Ardeshiri
Editors | Pagination: António Osório e Sérgio Reis
Cover design: António Osório
Cine-Clube de Avanca Editions, 2021
Reference number:
ISSN: 2184-0520 (printed book)
ISSN: 2184-4682 (online)
All rights reserved in compliance with current legislation.
All images and graphics were provided by the authors of the texts.
All images either belong to the authors or were taken from web spaces where they were available.
AVANCA | CINEMA 2021
AVANCA | CINEMA 2021, completely at home, because of a time that doesn’t seem to disappear
We opened last year’s conference with the news of a virus.
A year later, we continue to live conditioned by its presence.
In this context, in 2021 everything is different and again the same as last year.
At home, but always and stubbornly also in Avanca, the conference takes place at the meeting of researchers, projects and the necessary dissemination and debate.
As a mixed conference, the 12th AVANCA | CINEMA 2021 reinforces its commitment to research, researchers and the exciting world of films.
In this event, the cinema’s gaze glances always returns to the spaces of art, technology, communication and the new contours that mark the movement of images and their narratives.
We are going to carry out this double-blind review Conference, reinforcing the always desired certainty that it is safely.
An attentive man left in 2020
It was in 2016 that professor and researcher Javier Venturi participated for the first time in AVANCA | CINEMA. It came with the look of contemporary cinema by Carlos Iglesias, Álex de la Iglesia and Agustí Villaronga, on the fratricidal civil war in Spain.
The following year, he presented a study on the resurgence of war movies and science fiction. A study of film production in the country where he taught, the USA.
In 2018, Venturi returns to Spain and focuses on the echoes in the cinema of the memory of the Franco regime. The summary of his communication ends with “All wounds cannot be healed until true justice will be served to the victims of the Francoist regime”.
Javier Venturi quickly became an indispensable participant in AVANCA | CINEMA. His work as a researcher was now joined by a physical presence that underpinned a growing space of friendship. Long conversations made it possible to advance projects and establish chains of debate that were growing and quickly becoming fundamental.
With this spectator and attentive participant of the conference and festival days, each year, these days became fuller and capable of sprouting almost the unthinkable. Ideas flowed, perspectives widened and achievements began to emerge.
Venturi quickly becomes a key player in the jury of the oldest short film festival. In the Italian city of Montecatini, you find an extension of the friendship space that started in Avanca.
Spanish cinema is once again the field of investigation of his 2019 communication. He returns to the times of the Franco regime and this time he focuses on what he calls the regime’s Russian-speaking and Anglophone rhetoric. Films are the natural consistency for this political gaze where communism and the unresolved issue of Gibraltar seemed to fit the urgent need to find another culprit.
Spanish cinema is once again the field of investigation of his 2019 communication. It goes back to the times of the Franco regime and this time he focuses on what he calls the regime’s Russian-phobia and Anglophobia rhetoric. Films are the natural consistency for this political gaze where communism and the unresolved issue of Gibraltar seemed to fit the urgent need to find another culprit.
Javier Venturi was definitely part of the AVANCA | MOVIE THEATER. In 2020 he integrates the Scientific Committee and participates in the international jury of the Engr. Fernando Gonçalves Lavrador Award.
It was last year.
Federico Fellini and José Luis Cuerda were the last filmmaker who brought us to Avanca. According to him, “Both cinematic approximations embrace the ideological resistance towards the ongoing process of dehumanization and its pernicious effects on society. The achievement of social justice is deliberately postponed by the technocratic power elite, and by youth generations that are disengaged with its historical past, and enslaved by digital technologies”.
This year, Javier Venturi will no longer be around. He disconnected technology from life and left us with what he knew most and best to explore – memory.
We have a combative and vigilant history, also and always penetratingly interpreted in a shrewd and exemplary rigorous work. We stay with Javier Venturi as a friend who will always occupy a chair at the conference.
Javier Venturi will be our favorite spectator.
António Costa Valente
Prize Engr. Fernando Gonçalves Lavrador
In posthumous tribute to one of the most significant Portuguese researchers in the Semiotic, Aesthetic and Cinema Theory, whose work is essential and universal, the Conference AVANCA | CINEMA creates in 2010 the Prize Engr. Fernando Gonçalves Lavrador, aiming to distinguish the best communication present in the conference.
In 2021, the International Jury constituted by:
- Mônica Stein, Ph.D – Universidade Federal de Santa Catarina (Brazil)
- Denize Araújo, Ph.D – Universidade Tuiuti do Paraná (Brazil)
- Joaquim João Sousa, Ph.D – Universidade de Trás-os-Montes e Alto Douro (Portugal)
- Nuno Fragata, Ph.D – ESAD, Caldas da Rainha (Portugal)
- Alfonso Palazón Meseguer, Ph.D – Universidad Rey Juan Carlos (Spain)
- Francisco-Julián Martínez-Cano, Ph.D – Universidad Miguel Hernández (Spain)
The International Jury decided to award the following paper:
The Engr. Fernando Gonçalves Lavrador Prize was awarded to the communication:
“A hibridez do biopic” by Paulo Filipe Monteiro – ICNOVA/NOVA FCSH, Portugal
Honorable mention:
“Recôncavo da Bahia, o cinema em ponto de ebulição” by Angelita Bogado and Lina Cirino – UFRB, Brazil
and to:
“Phenomenology of a Projection Booth” by Petra Dominkova – FAMU, Czech Republic
The organizing committee should like to thank all the participants, jury members, relatives of Engr. Fernando Gonçalves Lavrador and also to the sponsor of the prize which contributions were decisive to the social, artistic, cultural and scientific relevance that was experienced trough the event.
Thank you very much.
AVANCA | CINEMA 2021
Honour Committee AVANCA | CINEMA 2021
- Sua Excelência o Magnífico Reitor da Universidade do Algarve
Professor Doutor Paulo Águas - Sua Excelência o Magnífico Reitor da Universidade de Aveiro
Professor Doutor Paulo Jorge Ferreira - Sua Excelência o Magnífico Reitor da Universidade de Trás-os-Montes e Alto Douro
Professor Doutor Emídio Gomes - Sua Excelência o Vice Reitor da Universidade de Coimbra
Professor Doutor Delfim Leão - Sua Excelência Senhora Presidente da Fundação para a Ciência e Tecnologia
Professora Doutora Helena Pereira
Scientific Committee AVANCA | CINEMA 2021
- Abílio Hernandez, Ph.D - Universidade de Coimbra - Portugal
- Alessandro Griffini, Ph.D - ENEA - Italy
- Alfonso Palazón Meseguer, Ph.D - Universidad Rey Juan Carlos - Spain
- Alice Fátima Martins, Ph.D - Universidade Federal de Goiás - Brazil
- Anabela Branco Oliveira, Ph.D - UTAD - Portugal
- Aníbal Lemos, Ph.D - IADE / Universidade Europeia - Portugal
- Anne Démy-Geroe, Ph.D - Griffith University - Australia
- António Abreu Freire, Ph.D - CLEPUL - Universidade de Lisboa - Portugal
- António Costa Valente, Ph.D - Universidade do Algarve - Portugal
- António Pedro Pita, Ph.D - Universidade de Coimbra - Portugal
- Beatriz Legerén, Ph.D - Universidade de Vigo - Spain
- Behrooz Mahmoodi-Bakhtiari, Ph.D - University of Tehran - Iran
- Bienvenido Léon, Ph.D - Universidad de Navarra - Spain
- Carmen Peña Ardid, Ph.D - Universidad de Zaragoza - Spain
- Carla Freire, Ph.D - ESECS - Portugal
- Carlos Fragateiro, Ph.D - Universidade de Aveiro - Portugal
- Christine Escallier, Ph.D - Universidade da Madeira - Portugal
- Conceição Lopes, Ph.D - Universidade de Aveiro - Portugal
- Denize Araújo, Ph.D - Universidade Tuiuti do Paraná - Brazil
- Farshad Fereshteh Hekmat, Ph.D - University of Tehran - Iran
- Gloria Gómez-Escalonilla Moreno, Ph.D - Universidad Rey Juan Carlos - Spain
- Ivelise Perniola, Ph.D - Roma Tre University - Italy
- Javier Olarte, Ph.D - Universidad Nacional de Colombia - Colombia
- João Paulo Queiroz, Ph.D - Universidade de Lisboa - Portugal
- João Victor Boechat Gomide, Ph.D - Universidade FUMEC - Brazil
- Jochen Dietrich, Ph.D - Gymnasium Stift Keppel, Hilchenbach - Germany
- Jorge Seabra, Ph.D - Universidade de Coimbra - Portugal
- José Ribeiro, Ph.D - Universidade Federal de Goiás - Brazil
- Josélia Neves, Ph.D - Hamad bin Khalifa University - United Arab Emirates
- Kajingulu Somwe Mubenga, Ph.D - National Pedagogy University - Congo
- Lídia Oliveira Silva, Ph.D - Universidade de Aveiro - Portugal
- Lien Fan Shen, Ph.D - The University of Utah - USA
- Manuel Salvador Lima, Ph.D - Universidade dos Açores - Portugal
- Manuela Penafria, Ph.D - Universidade da Beira Interior - Portugal
- Marc Rigaudis, Ph.D - United States International University - Kenya
- Mari Mäkiranta, Ph.D - University of Lapland - Finland
- Marta Varzim, Ph.D - ESAD- Portugal
- Maria Eugénia Pereira, Ph.D - Universidade de Aveiro - Portugal
- Mirian Tavares, Ph.D - Universidade do Algarve - Portugal
- Narce Dalia Ruiz Guzmán, Ph.D - Universidad de Monterrey - Mexico
- Nazlı Eda Noyan, Ph.D - Bahçeşehir University - Turkey
- Nuno Fragata, Ph.D - IPL - ESAD - Portugal
- Paulo Bernardino, Ph.D - Universidade de Aveiro - Portugal
- Rabindra Bista, Ph.D - Kathmandu University - Nepal
- Régis Frota Araújo, Ph.D - Universidade Federal do Ceará - Brazil
- Rosa Oliveira, Ph.D - Universidade de Aveiro - Portugal
- Rosemary Mountain, Ph.D - Concordia University - Canada
- Roy Menarini, Ph.D - Università di Bologna - Italy
- Sally Shafto, Ph.D - Sarah Lawrence College - USA
- Wai Luk Lo, Ph.D - Hong Kong Baptist University - Hong Kong
- Yen-Jung Chang, Ph.D - National University of Taiwan - Taiwan
- Yumiko Mizusawa, Ph.D - Seijo University - Japan
The Organizing Committee AVANCA | CINEMA 2021
- António Costa Valente | Universidade do Algarve, CIAC | Portugal
- Carla Freire | ESECS - Leiria | Portugal
- Cláudia Ferreira | Universidade de Aveiro | Portugal
- Herlânder Marques | Universidade do Minho | Portugal
- Maria João Faceira | IAMS | Portugal
- Marta Varzim | ESAD - Matosinhos| Portugal
- Moghadaseh Rouhi Ardeshiri | Universidade NOVA de Lisboa | Portugal
- Nuno Fragata | ESAD - Caldas da Rainha | Portugal
- Sérgio Reis | Cine-Clube de Avanca | Portugal
TABLE OF CONTENTS
Chapter I
Cinema – Art
- Academic performance as ritual of creation and activism in the post-digital era .......... 29
Pilar Pérez
Selma Pereira
Adérito Fernandes-Marcos - Adapting Hunter S. Thompson’s Writing to Cinema: Despicable Characters and (apparent) Lack of Purpose .......... 41
Manuel João de Carvalho Coutinho - Animation as a globalizing agent .......... 48
María Vanesa Román Jaime - “Archetype(spelling) obscure of feminine”, 2020. Multimedia installation Performance with the collaboration of artist/performer Sol Casal (Br) and the participation of the Traditional Singer Sara Grenha, at the gallery Ana Lama, (25/10/2020), Lisbon .......... 56
Sónia Carvalho
Paulo Bernardino Bastos - Art History and Tv Series .......... 66
Manuel Rodríguez Vargas - Aural and Visual Imagery in the Multimedia Music Performance .......... 76
Yudan Wang
Xiao Ling Shao - Chance Semiotics: The Value and Application of Contingency in Cinema Art Practice .......... 85
Pavel Prokopic - Cinema and its relationship with merchandising at the beginning of the 21st century .......... 92
Miguel Ángel Rivas Romero - Dancing Lady: I will be a Star .......... 101
Cláudia Marisa - Decentralizing art making: Commentaries on curating online artist residency “Flaneur in the Insular Cities” .......... 108
Cheong Kin Man
Yipei Lee - Emancipation in the autobiographical creative process .......... 115
Rita Vilhena - EU Horizon 2020 programme: promoting user centric co-creative projects .......... 123
Lopez-Plana, J. Oriol - Female Portrait of Exile and Identity construction: A Case Study of Marjane Satrapi’s Persepolis .......... 129
Marta Contreras-Pérez - Ian (2018): a short film where citizenship and ethical and moral responsibility are explained to younger people using the strong impact of images and sound .......... 134
Helena Maria da Silva Santana
Maria do Rosário da Silva Santana - Image and memory – a reflection about creative process in short-term memory .......... 139
Hugo Canossa
Rosimária Rocha - Images of the domestic work in the Brazilian cinema: an inventory fictional feature-length films from 1958 to 2019 .......... 147
Daniel Augusto de Matos Assunção - Inspire, create and sharing: convergences of the creation process in the Work of Agnès Varda .......... 156
Silvane Maltaca
Sandra Fischer - Landscape as narrative element in Lisandro Alonso’s Liverpool .......... 166
André Francisco - Lens revealing power in Antonioni’s Blow-Up .......... 174
BOILLEAU Antoine - Let the stones speak. Havana’s urban ruins in the eyes of Cuban visual artists and filmmakers .......... 182
Olga María Rodríguez Bolufé
Yalicel Gabeira Londres - Manon de Boer looks at the arts: The performative body through repetition .......... 190
Elisenda Díaz Garcés - Methodologies of audio description in the reception of films for people with disability visual: case study .......... 197
Alex Beigui
Thales Lopes - O Crime do Padre Amaro: the drama that is discovered in the narratives of Eça de Queiroz (1875), Carlos Coelho da Silva (2005) and Paula Rego (1997-1999) .......... 204
Helena Maria da Silva Santana
Maria do Rosário da Silva Santana - PJ Allsteam and the transcultural creative process .......... 212
Fernanda Nardy Bellicieri
Andrea Modugno
Massimo Pini
Claudio Garofalo
Hania Cecília Pilan - Prelude: The sleeping song of the Gran Teatro Cervantes de Tangier .......... 221
Juan Carlos Robles Florido - Recôncavo da Bahia: boiling point cinema .......... 228
Angelita Bogado
Lina Cirino - Relations between the post-digital and the industrial complex of capitalism: reformulations on technology as ideology and digital garbage in art .......... 233
Hugo Paquete
Adérito Fernandes-Marcos
Paulo Bernardino Bastos - Screenwriting and Postdramatic Theatre - Contradictions and Opportunities .......... 243
Luís Santo Vaz - Stylized Artistic animation for virtual reality – Boundaries between the virtual and the physical .......... 252
Nuno Sousa
Sérgio Eliseu - The act of seeing with no eyes: a videographic project about visuality as an instrument of power .......... 259
Ana Císcar Cebriá - The aesthetic fascination of the negative character. From expressionist monsters to Breaking Bad .......... 265
Marcos Jiménez González - The Artist and the Art in ‘O Guarani’, by José de Alencar, an adaptation by Pedro Pernambuco .......... 272
Fabiana de Barros Monteiro Soares
Thelma Panerai Alves - The aura of performance on the cinematic condition .......... 278
Alexandra Tomás
Paulo Bernardino Bastos - The elements of the film narrative “The Book Thief” (2013) .......... 286
Pollyanna Rosa Ribeiro
Luciana Alves Rodrigues - The limitless Possibility of Combination: Filmic Lego Poetics of Storytelling and Structure in Global Film Scriptwriting and Duration .......... 293
Chan Ka Lok Sobel - The main character of Ibero-American cinema in the hypermodern model .......... 298
Matías López Iglesias - The Masquerade Folia: a reflection about culture and image in the visual metaphors present in the animation The Boy and the World .......... 304
Patricia Perez de Moraes Nepomuceno
Mauricio Silva Gino - The meeting: a dialogue between art and design for managing and creating an audiovisual project throughout the COVID-19 pandemic .......... 310
Orlando José Dantas Lopes
Paulo Fernando de Almeida Souza - The Power of Black Video Art and Film in Contemporary Art .......... 316
Tatiane De Oliveira Elias - The Refrains of Memory: Bi Gan’s Long Day’s Journey into Night .......... 327
Yi Chen - The relationship between image and sound in the sound environment of the animation The boy and the World .......... 335
Patricia Perez de Moraes Nepomuceno
Mauricio Silva Gino - Time Travel, Audiovisual Narratives and TV Fiction: The Bootstrap Paradox in BBC’s Doctor Who .......... 341
Juan Manuel Ruiz Prieto - Violated cartographies. Aesthetic and political representations in the construction of the Shattered World Museum .......... 349
Monica Rodrigues Klemz
Doris Kosminsky
Elianne Ivo Barroso - What do you want to be when you grow up: Afrofuturism in the short film Bluesman .......... 357
Edmilson Forte Miranda Júnior
Chapter II
Cinema – Cinema
- A Critical Inquiry on Data Visualization Based Interactive Documentary: “The Fallen of World War II” as an example .......... 366
Ersan Ocak - A Study of Sound Aesthetics in Screenplays of Asghar Farhadi Based on Michel Chion’s Theories .......... 371
Hossein Mashali
Leila Montazeri - Advocating world cinema’s multipolorization .......... 377
Cheong Kin Man - Aesthetics of camera movement in Afghan cinema .......... 382
Abbas mohammadi - Aesthetics of Symbolism and Semiotics in Afghan Cinema .......... 388
Abbas mohammadi - Animation as a Documentary Strategy of Graffiti Writing. Representation and Reconstruction of Memories .......... 394
Mattia Ronconi
Jorge Brandão Pereira
Paula Tavares - Archive and Landscape: On Cinema and Wonder .......... 407
José Duarte - Biopic: the incorporation of the author’s work as a narrative resource .......... 413
Marcela Andrea Negro - Broadway representation through the cinema: Stage door (1932) and Birdman (or the Unexpected Virtue of Ignorance) (2014) .......... 420
Caffarel- Rodríguez, Bárbara - Chet Baker, from the stage to the big screen. Comparative analysis of the documentary films Let’s Get Lost (1988) and Born to be Blue (2015) .......... 426
Martina Forconi Baraldi - Cinema as a Potency in Portugal Foreign Policy .......... 434
Rui Manuel Martins de Sousa Torres - City Symphonies: Utopia and Documentary Semiosis .......... 444
Fernanda Aguiar Carneiro Martins - Confined Cinema. The spatial limitation in non-fiction cinema .......... 453
Rubén Marín Ramos - Construction and deconstruction processes in the film ‘The Wall’ (1982) - Interpretative analysis in the Semiotic and Psychoanalytic perspectives .......... 460
Isabel Orestes Silveira
Cleusa Kazue Sakamoto - Convergence points between the films Once and Sing Street and the British New Wave .......... 468
Mariana Lemos Schwartz - Critical Analysis of cineclub experience with 7-10 years old students .......... 476
Manoela Veloso Passos
Maria Beatriz Colucci - Dictator, the one who dictates – between the ideology of the single thought and the diversity of the failure. From Marcel Duchamp to Samuel Beckett, through Charlie Chaplin and Buster Keaton .......... 483
José Januário Guedes Pires - Digital innovations in cinematographic practice at the early 21st century: the case of The Mandalorian .......... 497
Francisco-Julián Martínez-Cano - Experimental Animated Engraving: Technical Creation and Aesthetic Simulation .......... 502
M. Ángeles López Izquierdo - Experimental animation and awareness on the new coronavirus. The potential of opaque audiovisual images for children .......... 507
Arthur Felipe de Oliveira Fiel
Patrícia Cardoso D’Abreu - Expressing the Self: The Diary Films of Jonas Mekas .......... 515
Tiago Luís Minau Ramos - Film censorship in Portugal. Films banned and cut by the Censorship Commission (1945-1952) .......... 523
Cristina Batista Lopes - Folds, Cracks, splits of the Subject. Otto e mezzo or the discovery of an authenticity of cinema .......... 536
Mur Quentin - Fragments of female authorship in Brazilian cinema: considerations about Carla Civelli’s cinema (1921 - 1977) .......... 543
Regina Glória Andrade
José Francisco Serafim
Sandra Straccialano Coelho - Health Knowledge, Awareness & Social Stigma as Reflected in Egyptian Drama - HIV/AIDS as Paradigm .......... 550
Jailan Mahmoud Sharaf - History, literature and cinema: a neoclassical poet caught in the whirlwind of a historiographic metafiction .......... 558
Ramsés Albertoni Barbosa - Homebound Documentaries: A Reflection upon the Significance of Self-reflexive Cinema in the Digital Age .......... 563
Nikbanoo Ardalan - How hybrid a biopic is .......... 570
Paulo Filipe Monteiro - Italian Identities – Stories and Memories of the Community .......... 580
Marcello Zeppi - “Lavra-dor”, poem-flim: the relationship between cinema and poetry through repetition .......... 585
Alexandre Wahrhaftig - Leading accessible cinema across Europe .......... 592
Pilar Orero - LGBT representativeness in an animated short-film .......... 597
Alexia Silva da Silveira Araujo
Monica Stein - Magueyes (1962) by Rubén Gámez. Mexican experimental cinema as a violent and inexhaustible resource of memory .......... 605
Dulce María Núñez Oseguera - Mountain range of Amoras II and the social imaginary overseas field in exercise of the invisible photography .......... 610
Gregorio Galvão de Albuquerque - Narcissism and Universality: The Cinema of Xavier Dolan .......... 617
Sheida Sheikhha - Notes on construction of character in documentaries .......... 627
Daniel Brandi do Couto - «Pain and Glory», Pedro Almodovar and how not to repeat ourselves .......... 632
Paulina Stephani Hernández Ríos
Jean-Pierre Marcos - Philosophy and psychology in Charlie Kaufman’s Work .......... 638
Marcos De Bona de Carvalho - Pictorial Elements of Composition: Mosaic of Perspectives Towards Frontality in Sergei Parajanov’s “The Colour of Pomegranates” .......... 647
Nare Leone Ter-Gabrielyan - (Re-)nostalgização: o cinema de Macau enquanto construção da identidade .......... 660
Cheong Kin Man - Self-Objectification in Phoebe Bridgers’ Videography .......... 666
Francisco Ricardo Silveira - Silence and action: the reivention of language in post-pandemic Cinema .......... 675
Francisco Malta
Wilson Oliveira
Renan Oliveira
Matheus Moita
Thiago Malvar
Stella Nemer - Space in the Cinema of João César Monteiro .......... 681
Henrique Muga - Star Trek: feminism and identity in the case of Nyota Uhura .......... 687
Mauricio Mario Monteiro
Ricardo Tsutomu Matsuzawa - Structure, Geometry And Method In Peter Greenaway’s The Draughtsman’s Contract. The 4 Dimensions In The Cinematic “Canvas” .......... 696
Oscar Canalís Hernández - Studies on the potentialities of sound design in animated movies - The impact and the influence of sound design in the creation of an animated short .......... 710
Tiago Silva
Marta Madureira
Filipe Lopes - Symbols, religiosity and belonging. Dialogues between the history of Brazil and Africa in three documentaries .......... 718
Ivana Denise Grehs - The “Selfie” on Screen: Self representation practices in contemporary Brazilian documentary .......... 728
Marise Berta de Souza
Bruna Lorrane de Castro Morais
Diana de Oliveira Souza Reis - The classic Theories of editing for the cinema and its impact on Video Games’s narrative .......... 736
Juan Pablo López Rincón - The found footage of Werner Herzog’s Grizzly Man .......... 747
Filipe Freitas Chaves
Luiz Roberto Pinto Nazario - The Gate of Heaven: Miracle or Fraud? .......... 752
Luiz Nazario - The Non-Existent Documentary Nor Fiction .......... 765
Diana Martinez Muñoz
Melissa de Raaf - The place of literature adaptation in Afghan cinema .......... 771
Abbas mohammadi - The professionalization of animated short film in Spain. Current situation .......... 776
Adriana Navarro Alvarez - The underground man: Plato, Dostoevsky and Parasites .......... 784
Paulo Alexandre e Castro - The Whistleblower Film – Is it a Genre and Why Does it Matter? .......... 789
Saša Miletić - Toc Toc – a reflection on the role of alterity in your aesthetic finish .......... 798
Cátia Candido da Silva
Waleska Karinne Soares Coutinho Souto
Fabrícia Teixeira Borges - Transpersonal approaches at school: a new subjective framework in cinema pedagogy .......... 803
Verônica Valério Santos - When art is political: Cinema, feminism and analysis .......... 813
Ana Catarina Pereira - Why do I live here? - Documentary essay on Chinese immigration in Spain .......... 822
Yuying Song - Why We Don’t Go to the Cinema: A Qualitative Study in Iran .......... 834
Maryam Khaleghipour
Azam Ravadrad - Women and the brazilian audiovisual narrative: reconfigurations from time frames .......... 839
Patrícia Cardoso D’Abreu
Flavia Leiroz
Chapter III
Cinema – Communication
- A Double Look at Animated and Filmed Images .......... 849
Eliane Gordeeff - Analyzes and correlation of The Rewrite’s movie with active teaching methodologies .......... 856
Favaro, José Estevão - Atila Iamarino video and The Social Dilemma Netflix documentary .......... 863
Lara Lima Satler - Audiovisual storytelling: consumption practices of higher education students .......... 872
Teresa Gouveia
Ana Oliveira - Between document and fiction: the construction of fictional fear in visual fragments .......... 880
Flóra Simon da Silva - Beyond the Grid: the digital side of the Drive to Survive series .......... 886
Eduarda Cantaluppi
Glaucia Eneida Davino - Body on screen: Visuality of dance practices in media during the pandemic .......... 894
Ana Sedeño-Valdellós - Cinema and Political Communication – The Anteroom of the Military Coup of 1964 .......... 899
Gabrielle Cristiane Fulcherberguer - Contribution of written publications to the dissemination and development of cinema: The Cahiers du Cinéma (1951-1959) .......... 908
Sebastian Chisaba Rojas - Dialogues between the advertising video clip and the gentrification of queer .......... 913
Gabriela Santos Alves
Rosane Vasconcelos Zanotti
Thiago Scarpat Mozer - Digitality, living through screens, the economy of attention and the look market .......... 921
José Antonio Martinuzzo
Janaina Frechiani Lara Leite - Evolution of dystopian models in contemporary film narratives. An ecosocial perspective .......... 929
José Luis Albelda Raga
Lorena Rodríguez Mattalía - Game of Thrones, The non-canon of the Hays Code’s .......... 938
Matías López Iglesias - Gender issues desconstructed into animation fragments .......... 945
Sílvia R. B. Pinto
Bruna Banon - How might we simulate a riverside experience through virtual collaboration? .......... 950
Zoe Latham
Linda Ward - Patterns of Media Incarnation and Text Circularity between Book and Film in the Publishing Industry: The case of the house Romano Torres .......... 957
Nuno Medeiros - Pedagogical uses of the media, approach to a transmedia education .......... 962
Andres Mauricio Villalba Cruz - The audiovisual mobilizing object: YouTube, Colombia National Strike 2019 .......... 969
María Gabriela Pabón Hernández - The Bruno de Carvalho incident: elements for a critical analysis of news production .......... 980
Ricardo Ferreira de Almeida
Ana Branca Carvalho - The capitalist view and the neoliberal conflict of society through the Brazilian documentary ‘Ilha das Flores’ .......... 990
Carlos Mauricio Gomez - The translation of Watchmen: a job for superheroes? .......... 996
María del Mar Ogea Pozo - Tragic Story with Happy Ending: Creating a Feminist Experience in Animation .......... 1008
Catarina Calvinho Gil - Women in TV series: a psychological approach to female characters .......... 1014
Elis Crokidakis Castro
Luis Antonio Campos Monteiro
Chapter IV
Cinema – Technology
- Between language frames: seriality and variation in computer-coded film. A case study with a code-generated abstract film .......... 1021
Luis Fernando Medina Cardona
Julián David Sandoval Ospina - Culture meets immersive environments: a new media landscape across Europe .......... 1029
Marta Brescia-Zapata - Electronic montage: the non-formalistic video-cinema form of algorithm .......... 1034
Fábio Jabur de Noronha - Ex Machina and Her: narrative genres and gender narratives .......... 1040
Ana Carolina Fiuza - From Performative Animation to Film Production .......... 1047
Marcello Ferreira
Bárbara Cleto
Luís Leite - Interactive cinema - videogames: a possible approach? .......... 1060
Sofia Figueiredo - Interactivity and post-media: the coexistence between technology and narratives .......... 1067
Luciano Marafon - New Media and Technological Transformation .......... 1075
Tugay Arat - Phenomenology of a Projection Booth .......... 1082
Petra Dominkova - Sensory technology for measuring engaged viewership of broadcast television content .......... 1089
Sivakumar Ramachandran - The planetarium, beyond the stars: historical development of audiovisual projections for hemispheric screens .......... 1095
Vitor Amaro Lacerda
Maurício Silva Gino - Training professionals to improve media accessibility .......... 1102
Estella Oncins
Anna Matamala - Transposition of fulldome content to flat media motivated by sanitary measures resulting from te COVID-19 pandemic .......... 1108
Maurício Silva Gino
Vitor Amaro Lacerda
Kayke Quadros Carvalho
Chapter V
Guests
- Biblically Cicle: The Cristianism of the Old and New Testaments, interpretation since the Eurocentric Cinema .......... 1115
Regis Frota Araújo - Collaborative Revolution .......... 1126
Narce Dalia Ruiz Guzmán - Dimensions of the screenplay in real time: Antônio um dois três by Leonardo Mouramateus .......... 1132
Patrícia Dourado
Mirian Tavares - From screenwriting to montage, evidence to understand the evolution of audiovisual narratives .......... 1141
Javier Segundo Olarte Triana - The case of the North-American writers attracted by Hollywoodian Cinema .......... 1151
Regis Frota Araújo - The Searchers: Aristoteles Revisited .......... 1159
Manuel Bernardo Cabral
António Costa Valente - The Team Using Video Games To Help Fight Climate Change .......... 1167
Marc Rigaudis
Max Musau
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