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Journal articles on the topic 'Found footage film'
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1
Op den Kamp, Claudy. "Recycled Images: from orphan works to found footage." Art Libraries Journal 41, no. 1 (January 2016): 24–31. http://dx.doi.org/10.1017/alj.2015.5.
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The focus of this article will be on the artistic practice of found footage film-making—with which is understood the practice of creating new films with extant material—and the ‘aesthetics of access’. Lucas Hilderbrand introduces this term in his 2009 publication Inherent Vice, in which he assembles issues of copyright, preservation and bootlegging and applies it to the specific case study of VHS. When he speaks of aesthetics of access he does so in reference to the formal characteristics of the image. That is how the term is intended here as well. So for instance, film-maker Matthias Müller shot the footage he has used to compile his found footage film Home Stories (1990) with a 16 mm film camera off a television screen. Whether this mode of production was favoured for its specific visual impact or for circumventing having to obtain permission to re-use the (mainly Hollywood feature) film material, the resulting slightly degraded look of the duplicated material is a direct result of how the material was accessed, hence its ‘aesthetics of access’. This article argues that the legal provenance of archival material, and potential ways of circumventing legal restrictions in obtaining that material, can be traced in the ultimate form of found footage films. It also argues that in their new amalgamated states, the films emphasise such concepts as ownership and authorship and that they can be seen as illustrative in their allusions to the ways that institutional context, copyright and film form are interdependent.
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Suh, Yong Chu. "Found Footage Film of Self-Reflexivity." Cartoon and Animation Studies 33 (December 31, 2013): 317–41. http://dx.doi.org/10.7230/koscas.2013.33.317.
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Rødje, Kjetil. "Intra-Diegetic Cameras as Cinematic Actor Assemblages in Found Footage Horror Cinema." Film-Philosophy 21, no. 2 (June 2017): 206–22. http://dx.doi.org/10.3366/film.2017.0044.
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This article proposes a reconceptualization of the term “actor” within motion pictures and presents the argument that “acting” is a matter of distributed agency performed by heterogeneous assemblages. What constitutes an actor is what I will label as a “cinematic actor assemblage,” a term that comprises what is commonly known as human actors as well as material entities that play an active part in motion picture images. The use of intra-diegetic cameras in contemporary found footage horror films constitutes a particular case of such cinematic actor assemblages. Through a dynamic relational performance, cameras here take on roles as active agents with the potential to affect other elements within the images as well as the films’ audiences. In found footage horror the assemblage mode of operation creates suspense, since the vulnerability of the camera threatens the viewer's access to the depicted events. While human characters and individual entities making up the camera assemblage are disposable, the recording is not. Found footage horror crucially hinges upon the survival of the footage. I will further suggest that these films allow filmmakers to experiment with the acting capabilities of intra-diegetic cameras.
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Fell, John. ": Found Footage Film . Cecelia Hausheer, Christoph Settele." Film Quarterly 46, no. 4 (July 1993): 62. http://dx.doi.org/10.1525/fq.1993.46.4.04a00420.
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Fell, John. "Review: Found Footage Film by Cecelia Hausheer, Christoph Settele." Film Quarterly 46, no. 4 (1993): 62. http://dx.doi.org/10.2307/1213181.
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Zryd, Michael. "Found Footage Film as Discursive Metahistory: Craig Baldwin's Tribulation 99." Moving Image 3, no. 2 (2003): 40–61. http://dx.doi.org/10.1353/mov.2003.0039.
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Anger, Jiří. "Trembling Meaning: Camera Instability and Gilbert Simondon's Transduction in Czech Archival Film." Film-Philosophy 25, no. 1 (February 2021): 18–41. http://dx.doi.org/10.3366/film.2021.0155.
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Many experimental found footage films base their meanings and effects on an interaction between the figurative content of the image and its material-technological underpinnings. Can this interaction arise accidentally without artistic appropriation? A recently digitised film by the Czech cinema pioneer Jan Kříženecký, Opening Ceremony of the Čech Bridge (1908), presents such an exercise in accidental aesthetics. At one point, the horizontal and vertical trembling of the cinematograph – obtained from the Lumière brothers – translates into a trembling of the figures on the bridge so precisely that the figurative and material spheres appear to cooperate towards a common aesthetic goal. To account for such phenomena, film theory, found footage filmmaking, and archival practice need to join forces with philosophy. More specifically, Gilbert Simondon's notion of transduction, a process based on the intersection of diverse realities within a domain, allows us to conceptualise the paradoxical interaction between the figurative and material dimensions and the unintentional meanings that arise out of it. Transduction enables the distribution of elements between these heterogeneous spheres while maintaining a certain stability within a system. In the case of archival films in which transduction occurs without prior intention or expectation, transduction can be foregrounded and prolonged. The connection between transduction and the “trembling meaning” of Opening Ceremony, understood within the wider context of camera instability in experimental found footage, will uncover the aesthetic potentialities held by the autonomous creativity of film matter and its interferences with the figurative content.
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Sawczuk, Tomasz. "Taking Horror as You Find It: From Found Manuscripts to Found Footage Aesthetics." Text Matters, no. 10 (November 24, 2020): 223–35. http://dx.doi.org/10.18778/2083-2931.10.14.
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An authenticator of the story and a well-tested enhancer of immersion, the trope of the found manuscript has been a persistent presence in Gothic writing since the birth of the genre. The narrative frame offered by purported textual artifacts has always aligned well with the genre’s preoccupation with questions of literary integrity, veracity, authorial originality, ontological anxiety and agency. However, for some time now the application of the found manuscript convention to Gothic fiction has been reduced to a mere token of the genre, failing to gain impact or credibility. A revival of the convention appears to have taken place with the remediation and appropriation of the principally literary trope by the language of film, more specifically, the found footage horror subgenre.
The article wishes to survey the common modes and purposes of the found manuscript device (by referring mostly to works of classical Gothic literature, such as The Castle of Otranto, Dracula and Frankenstein) to further utilize Dirk Delabastita’s theories on intersemiotic translation and investigate the gains and losses coming with transfiguring the device into the visual form. Found footage horrors have remained both exceptionally popular with audiences and successful at prolonging the convention by inventing a number of strategies related to performing authenticity. The three films considered for analysis, The Blair Witch Project (1999), Paranormal Activity (2007) and REC (2007), exhibit clear literary provenance, yet they also enhance purporting credibility respectively by rendering visual rawness, appealing to voyeuristic tastes, and exploiting susceptibility to conspiratorial thinking.
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Pieldner, Judit. "Remediating Past Images. The Temporality of “Found Footage” in Gábor Bódy’s American Torso." Acta Universitatis Sapientiae, Film and Media Studies 8, no. 1 (September 1, 2014): 59–78. http://dx.doi.org/10.2478/ausfm-2014-0026.
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Abstract Along Laura U. Marks’s thoughts on the “disappearing image” as embodied experience, the article proposes to bring into discussion particular modes of occurrence of “past images,” whether in form of the use of archival/found footage or of creating visual archaisms in the spirit of archival recordings, within the practice of the Hungarian experimental film making of the 1970s and 1980s, more speciflcally, in Gábor Bódy’s films. The return to archival/found footage as well as the production of visual archaisms reveal an attempt of remediation (Bolter and Grusin) that goes beyond the cultural responsibility of preservation: it confronts the film medium with its materiality, historicity, and temporality, and creates productive tensions between the private and the historical, between the pre-cinematic and the texture of motion pictures, between the documentary value of the image and its rhetorical dimension. The paper argues that the authenticity of the moving image in Gábor Bódy’s American Torso (Amerikai anzix, 1975) is achieved through a special combination of the immediacy and the hypermediacy of experience. Bódy’s interest in “past images” goes beyond the intention of experimentation with the medium; it is aimed at a profound, reconsidered archaeology of the image and a distinct sensing of the cinema.
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Bueno, Claudio Celis. "From Spectacle to Deterritorialisation: Deleuze, Debord and the Politics of Found Footage Cinema." Deleuze and Guattari Studies 13, no. 1 (February 2019): 54–78. http://dx.doi.org/10.3366/dlgs.2019.0341.
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The aim of this article is to explore how the differences between Guy Debord and Gilles Deleuze delineate two different interpretations of the politics of found footage cinema. To do so, the notion of cinematic interval is crucial. While Debord's practice of détournement presupposes a Hegelian-inspired notion of interval that allows for self-awareness to be achieved, Deleuze puts forth a Bergsonian concept of interval that functions as a condition of possibility for creating an ‘image of movement in itself’. To explore these two interpretations, this article uses Guy Debord's 1973 film The Society of the Spectacle as a case study. By focusing on this specific object, the two interpretations of the cinematic interval make it possible to compare two alternative ways of dealing with the representability – or unrepresentability – of capital, and hence to sketch two alternative views on the politics of found footage film practices.
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von Dassanowsky, Robert. "Fragmentation, Found Footage and Fallen Facades: New Austrian Film and Postmodern Anxiety." International Journal of the Arts in Society: Annual Review 1, no. 1 (2006): 45–50. http://dx.doi.org/10.18848/1833-1866/cgp/v01i01/35320.
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Sattelmacher, Anja. "“Self-testimony of a Past Present”: Reuses of Historical Film Documents." NTM Zeitschrift für Geschichte der Wissenschaften, Technik und Medizin 29, no. 2 (May 12, 2021): 143–70. http://dx.doi.org/10.1007/s00048-021-00300-z.
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AbstractHas the history of film digitization ever been incorporated in questions of evidence and knowledge production? The digitization of thousands of films from the former Institute for Scientific Film (IWF) that is currently underway gives an occasion to think about the provenance and reuses of filmic images as well as the ways in which they claim to produce scientific (or in this case, historical) evidence. In the years between 1956 and 1960, the German Social Democrat, historian and filmmaker Friedrich “Fritz” Terveen initiated a film series that used historical found film footage in order to educate university students about contemporary history. The first small series of films was entitled Airship Aviation in Germany which consisted of four short films using found footage of zeppelin flights, of which the earliest images stem from around 1904 and the latest from 1937, the moment of the “Hindenburg disaster.” This article explores how Terveen sought to shape the political landscape of history teaching in the new Federal Republic of Germany by first setting up nation-wide visual archives to host historical film documents, and secondly by seeking to improve the political education of a new generation of young Germans with the aid of the moving image.
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Albano, Caterina. "Moving Emotions: Affect, the Archive and the Moving Image." Cultural History 7, no. 2 (October 2018): 187–204. http://dx.doi.org/10.3366/cult.2018.0173.
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This article considers the significance of the moving image as an archival record and its implications for the ways in which memory interacts with history. As a defining technology of recording and documenting, film is entangled with history in its making: however, what kinds of narrative ensues from images whose contextual references are opaque to us? What can we garner from footage whose indexical connections have been lost? By focusing on the artistic practice of filmmakers Yervant Gianikian and Angela Ricci Lucchi, I suggest a reading of early-twentieth-century archival film footage, including found footage and home movies, in terms of affect. Gianikian and Ricci Lucchi's approach focuses on the procedural features of the frame and an excavation of the features that can be drawn from its defining connotations. Through an excavation of the most minute details within the frame, they point out the kind of ‘presence’ that film projects back to us as gesture, expression, and movement and abstract from them forgotten memories of everyday encounters and the affective forms that mundane actions took. In particular, I shall focus on works by Gianikian and Ricci Lucchi's that deal with encounters with ‘the other’ and the visual practices of representation that inform them. The legibility that Gianikian and Ricci Lucchi's approach brings to a reading of archival film footage is indicative for broader methodological considerations of the ways in which the moving image encodes affect and emotion. This is relevant for an understanding of what Lauren Berlant refers to as the ‘realm of the social’ by uncovering the structures of perception and representation of the past and the significance that they might take in the present.
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Tralli, Lucia. "Layers of Film, Encrusted Images." Feminist Media Histories 2, no. 3 (2016): 73–89. http://dx.doi.org/10.1525/fmh.2016.2.3.73.
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Cécile Fontaine's films do not tell stories in the traditional sense. Rather, they form spiraling involutions around an idea or a theme. Hers is a cinema of layers, encrustations, and material and plastic experimentation. It is a colorful and aquatic cinema that investigates—through stripping down and subsequent reconstruction—the material from which the images are made: the film strip itself. This essay investigates the poetics and the practice of Fontaine's found footage cinema, a cinema rigorously made without a movie camera, beginning with her first experiments with dry and wet techniques in the 1980s up to her more complex operations at the end of the 1990s. It is a cinema that, by fishing in the stream of abandoned images, reflects on the nature of the image, of memory and history, all rolled onto the vertical axis of the film.
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Dyshlyuk, Liubov. "Esfir Shub." Feminist Media Histories 2, no. 3 (2016): 11–28. http://dx.doi.org/10.1525/fmh.2016.2.3.11.
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An unsurpassed master of compilation cinema, Esfir Shub is a major figure in the history of Soviet film. Shub's concept of film editing emerges clearly in the four articles that are presented here for the first time in English. They are selected from Zhizn' moya – kinematograf (Cinema Is My Life, 1972), a collection of her essays, public speeches, and letters as well as descriptions of unfinished projects. The texts document Shub's thoughts on montage and her important work as a pioneer of found footage cinema, offering insights into the making of such groundbreaking archival compilation films as The Fall of the Romanov Dynasty (1927), The Great Road (1927), and Lev Tolstoy and the Russia of Nicholas II (1928).
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Ronduda, Łukasz. "Film fabularny jako narzędzie kuratora i badacza sztuki." Artium Quaestiones 31, no. 1 (December 20, 2020): 209–36. http://dx.doi.org/10.14746/aq.2020.31.8.
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In the essay, the author, Łukasz Ronduda, relates his own work as an artist, a film director, an art historian and curator, discussed in the light of the cinematic turn and the formation of common ground between cinema and contemporary art in both artistic and institutional sense. Ronduda looks closely at his two full-length feature films: Performer (2015) and Serce miłości (Heart of Love) (2017) and highlights their wider context. The first frame of reference spans from experimental films to contemporary full-length productions dedicated to wide audience. The second reference is his own work involving academic research, curating, writing a novel and the creation of a found footage film. In this self-presentation, Ronduda discloses his different attempts to find the right medium to speak about and analyze contemporary art. The full-length film turned out to be particularly effective medium in its ability to express the truth by means of fiction, placing him between creation and institutional structure. Film as a medium of interpreting art seems to productively question fixed boundaries between research, criticism and art.
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Jones, Steve. "Cartesianism and Intersubjectivity in Paranormal Activity and the Philosophy of Mind." Film-Philosophy 21, no. 1 (February 2017): 1–19. http://dx.doi.org/10.3366/film.2017.0028.
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Over the last century within the philosophy of mind, the intersubjective model of self has gained traction as a viable alternative to the oft-criticised Cartesian solipsistic paradigm. These two models are presented as incompatible inasmuch as Cartesians perceive other minds as “a problem” for the self, while intersubjectivists insist that sociality is foundational to selfhood. This essay uses the Paranormal Activity series (2007–2015) to explore this philosophical debate. It is argued that these films simultaneously evoke Cartesian premises (via found-footage camerawork), and intersubjectivity (via an ongoing narrative structure that emphasises connections between the characters, and between each film). The philosophical debates illuminate premises on which the series’ story and horror depends. Moreover, Paranormal Activity also sheds light on the theoretical debate: the series brings those two paradigms together into a coherent whole, thereby suggesting that the two models are potentially compatible. By developing a combined model, scholars working in the philosophy of mind might better account for the different aspects of self-experience these paradigms focus on.
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Dall'Asta, Monica. "Looking for Myriam." Feminist Media Histories 2, no. 3 (2016): 29–53. http://dx.doi.org/10.1525/fmh.2016.2.3.29.
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Despite the recent multiplication of studies in found footage cinema, the fog surrounding the figure of Myriam Borsoutsky remains thick. This article elaborates the rare extant information about her work to retrace an important chapter in the history of found footage cinema in France, in which women have played a major role. In an attempt to delineate a specifically female genealogy in the history of French compilation film, Myriam's work is studied alongside that of Nicole Vedrès, and situated in the cultural context of a net of relationships that includes other women, for instance Denise Tual and Yannick Bellon, as well as such masters of French cinema as Pierre Braunberger, Sacha Guitry, Henri Langlois, Alain Resnais, André Bazin, Chris Marker, Jean-Luc Godard, and Michel Leiris. A detailed analysis of two major works in this genealogy, Paris 1900 (dir. Nicole Vedrès, 1947) and Bullfight (dir. Myriam and Pierre Braunberger, 1951), draws upon Vedrès's own writings and André Bazin's critical notes on the films. The last section addresses the meaning of the neologism neomontage, coined by Bazin in his review of Bullfight to describe Myriam's “diabolical” editing abilities.
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Nieracka, Agnieszka. "Historia i obrazy. Niedokończony film Yael Hersonski." Prace Kulturoznawcze 22, no. 3 (May 7, 2019): 83–92. http://dx.doi.org/10.19195/0860-6668.22.3.7.
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History and images: Yael Hersonski’s A Film Unfinished The complex relations of the cinematic image with history and memory are the context for the analysis of A Film Unfinished. The author refers to other documentary evidence of the Holocaust Night and Fog by Alain Resnais and Shoah by Claude Lanzmann, to the concept of postmemory Marianne Hirsch and image epistemology Georges Didi-Huberman. This film presents the found footage — a Nazi propaganda document Das Ghetto subjected to the strategy of representation, which consists of a complex network of viewpoints, including various formal procedures. The author reflects on the status of images combined with the testimony of the survivors, the diaries of the ghetto inhabitants, the statements of the Nazi cameraman.
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Ratner, Megan. "Abstraction Through Representation: Interview with Kevin Jerome Everson." Film Quarterly 71, no. 3 (2018): 58–64. http://dx.doi.org/10.1525/fq.2018.71.3.58.
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Kevin Jerome Everson has made more than 131 shorts and nine features—so far—exploring the intersections of work and geography among African Americans and other people of African descent. Often mining events from his own life, local history, and vignettes from his actors’ lives, Everson scripts ordinary behavior and dialogue into theatrical gestures. In reediting or restaging personal stories or archival footage, the prosaic becomes specific and distinct. Everson looks for “frames that connect the necessity and the coincidence,” where “necessity” is the plot or character driving the film, “coincidence” the scenes that seem accidental or are lifted from found footage. Ratner engages Everson on his oblique approach that prizes his subjects’ dignity over his viewers’ comfort. At a time when weightless spectacle dominates imagery, Everson responds to her questions and to his craft with nuanced gravity.
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Simoni, Paolo. "Circle." Feminist Media Histories 2, no. 3 (2016): 102–18. http://dx.doi.org/10.1525/fmh.2016.2.3.102.
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A concentric intertwining of female perspectives is the subject of this essay, which describes the discovery, preservation, and reuse of the amateur film and video collection belonging to the Togni circus family. The article chronicles a decadelong adventure that led from the discovery of this amateur film collection to the making of Circle (2016), a found footage film recently completed by Valentina Monti. The film is the result of complicated research that involved a composite group of archivists and filmmakers, including many women. Most of the materials reused in the film were originally shot by three women, Christiane Bottinelli, Liliana Casartelli, and Fiorenza Colombo (wives of the Togni brothers), from the 1940s on. Their filmed memories are extraordinary micro-historical documents that grant access to the experiences of women in the highly patriarchal world of the traditional circus.
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Clark, I. A., E. A. Holmes, M. W. Woolrich, and C. E. Mackay. "Intrusive memories to traumatic footage: the neural basis of their encoding and involuntary recall." Psychological Medicine 46, no. 3 (December 9, 2015): 505–18. http://dx.doi.org/10.1017/s0033291715002007.
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BackgroundA hallmark symptom after psychological trauma is the presence of intrusive memories. It is unclear why only some moments of trauma become intrusive, and how these memories involuntarily return to mind. Understanding the neural mechanisms involved in the encoding and involuntary recall of intrusive memories may elucidate these questions.MethodParticipants (n = 35) underwent functional magnetic resonance imaging (fMRI) while being exposed to traumatic film footage. After film viewing, participants indicated within the scanner, while undergoing fMRI, if they experienced an intrusive memory of the film. Further intrusive memories in daily life were recorded for 7 days. After 7 days, participants completed a recognition memory test. Intrusive memory encoding was captured by comparing activity at the time of viewing ‘Intrusive scenes’ (scenes recalled involuntarily), ‘Control scenes’ (scenes never recalled involuntarily) and ‘Potential scenes’ (scenes recalled involuntarily by others but not that individual). Signal change associated with intrusive memory involuntary recall was modelled using finite impulse response basis functions.ResultsWe found a widespread pattern of increased activation for Intrusive v. both Potential and Control scenes at encoding. The left inferior frontal gyrus and middle temporal gyrus showed increased activity in Intrusive scenes compared with Potential scenes, but not in Intrusive scenes compared with Control scenes. This pattern of activation persisted when taking recognition memory performance into account. Intrusive memory involuntary recall was characterized by activity in frontal regions, notably the left inferior frontal gyrus.ConclusionsThe left inferior frontal gyrus may be implicated in both the encoding and involuntary recall of intrusive memories.
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Kotwasińska, Agnieszka. "Un/re/production of Old Age inThe Taking of Deborah Logan." Somatechnics 8, no. 2 (September 2018): 178–94. http://dx.doi.org/10.3366/soma.2018.0249.
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The article offers a re-examination of abjected femininity and old age through a close reading of The Taking of Deborah Logan (2015), a found footage horror movie centered on spectral possession. While to a large extent the movie replicates an infamous monstrous old woman trope, it also effectively questions typical Alzheimer's disease (AD) narratives, which tend to portray life with AD as a story of unmitigated loss and debility. In The Taking of Deborah Logan, potentially destabilizing moments occur when in the face of progressive loss of control, memory, and bodily functions, the main protagonist is momentarily experienced as resisting the dehumanisation and loss of agency conventionally associated with AD and possession alike. The aim of this article is thus three-fold. The first part sketches the processes through which possession narratives generate a highly ambivalent space for aging femininity in horror film, and how aging, disability, and AD intersect both in popular understanding and in film. In the second part, the author examines how The Taking of Deborah Logan, as a found footage horror, shapes a discussion about selfhood, agency, and monstrous embodiment. Finally, the author argues that it is through the concept of transaging that one can find ways to destabilise traditional understandings of old age, female embodiment, and AD, and offer new narratives that highlight monstrous, if ambivalent, agency.
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Belloï, Livio. "Pièces rapportées. Art de la trouvaille et science du montage selon Gustav Deutsch." Hors dossier 21, no. 1 (August 15, 2011): 153–81. http://dx.doi.org/10.7202/1005634ar.
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La présente étude se penche sur une oeuvre cardinale dans le champ du cinéma de found footage contemporain, soit Film ist. du cinéaste autrichien Gustav Deutsch. Oeuvre ouverte, véritable somme visuelle, Film ist. s’offre comme une tentative protéiforme de définition du cinéma en acte et par l’exemple. Face à cet objet complexe, l’auteur établit d’abord la nécessité d’une lecture rapprochée, qui fasse droit aux subtils et minutieux assemblages au travers desquels le film se constitue. Partant de là, il examine un segment précis de l’oeuvre, dans lequel le cinéaste, à partir d’images prélevées, pour l’essentiel, sur des films antérieurs à 1920, s’interroge de manière critique sur le cinéma comme instrument de conquête et, plus spécifiquement, sur les représentations de l’altérité véhiculées par ces images, en particulier dans le cinéma dit « ethnographique ». Une lecture rapprochée de cet échantillon de Film ist. permet de mettre en lumière, chez Deutsch, une véritable science du montage, qui s’appuie notamment sur la notion d’analogie visuelle, y compris entre des images apparemment très éloignées les unes des autres dans le spectre des représentations, mais entre lesquelles le cinéaste parvient à établir un dialogue souvent inattendu, particulièrement révélateur et hautement critique.
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Misek, Richard. "Trespassing Hollywood: Property, Space, and the “Appropriation Film”." October 153 (July 2015): 132–48. http://dx.doi.org/10.1162/octo_a_00230.
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In the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galleries. Yet beyond the protective walls of these cultural institutions, a global copyright war is raging. Over recent years, media owners have become ever more assertive of their intellectual property rights, while activists have become ever bolder in their demands for radical open access. How have film and video artists responded to these differing views about what constitutes our cultural commons? This article explores the question by focusing on two test cases: Thom Andersen's essay film Los Angeles Plays Itself (2003) and Christian Marclay's video collage The Clock (2011). Both involve unlicensed reuse of pre-existing film and television material. However, in their overall conception, methods of production, and distribution and exhibition, Andersen's and Marclay's works provide opposing models for how to engage with media property. The article concludes by suggesting that the two works' differences raise urgent ethical question about how (and where) contemporary artists' film and video is exhibited.
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Blümlinger, Christa. "L’attrait de plans retrouvés." Cinémas 24, no. 2-3 (May 22, 2014): 69–96. http://dx.doi.org/10.7202/1025149ar.
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L’impulsion archivistique qui, selon Hal Foster, caractérise l’art contemporain est aussi un phénomène propre au cinéma. Cet article ne cherche pas à alimenter à nouveau la théorie du film de found footage ou du film de montage, mais tente plutôt une approche esthétique du geste de la reprise au sein de trois films (de Filipa César, de Jean-Louis Comolli avec Sylvie Lindeperg et de Philip Scheffner) mettant en scène le dispositif même de l’archive, en vue notamment d’esquisser le champ épistémologique dans lequel interviennent les opérations esthétiques de réutilisation ou de recomposition des images et des sons d’archives. Certains films d’essai, reprenant des éléments de l’histoire du cinéma, s’intéressent à la qualité épistémique de la technique d’enregistrement et à l’unicité de l’expérience propre au visionnement et à l’écoute d’un document visuel ou sonore. Cet article propose également une analyse des modes d’affection créés par la reprise des images et des sons, dans la mesure où des formes propres à cet art archéologique suscitent une sensibilisation au dispositif et aux logiques temporelles de l’archive — et par là une puissance d’imagination, tendant vers la fiction.
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Egizii, Matthew L., Kimberly A. Neuendorf, James Denny, Paul D. Skalski, and Rachel Campbell. "Which way did he go? Film lateral movement and spectator interpretation." Visual Communication 17, no. 2 (October 28, 2017): 221–43. http://dx.doi.org/10.1177/1470357217738733.
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Elements of on-screen motion in film hold specific meanings and contexts depending on their usage in the moving image. The common wisdom that left-to-right is primary, preferred, and evaluated as more positive has not been directly tested with spectator responses. This study focuses on how film spectators interpret lateral motion, comparing left-to-right and right-to-left. A posttest only experimental design utilized footage from a short film as the stimulus. Participants completed a questionnaire after watching the sequence, answering items concerning affective and perceptual evaluations of the sequence. ANOVAs showed a significant difference between the experimental groups on the Positive Affect spectator evaluation scale and the Activity scale, such that right-to-left motion was perceived more negatively and as less active. There were no differences in the Uniqueness scale. Additionally, the study found no support for potential moderating impacts of religion or psychometric characteristics, indicating robustness of the main findings.
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Monterrubio, Lourdes. "Dispositivos de enunciación del film-ensayo español contemporáneo: Evolución de la subjetividad ensayística y su pensamiento en acto." Studies in Spanish & Latin-American Cinemas 16, no. 3 (September 1, 2019): 335–61. http://dx.doi.org/10.1386/slac_00003_1.
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El presente artículo analiza los dispositivos de enunciación del film-ensayo español contemporáneo. Para ello, realizamos un itinerario por sus obras más significativas, a partir de la evolución de los dispositivos de enunciación textuales y sus diferentes funciones: voz off, voz in, subtítulos, intertítulos, y la desaparición del texto. Este recorrido nos permite analizar la relación entre estos dispositivos y: las formas intermediales (la carta, el diario, el auotorretrato, etc.); los materiales audiovisuales (imágenes propias, found footage, animación, fotografía, pintura, etc.); los elementos retóricos utilizados (yuxtaposición, pantalla en negro, fundido, sobreimpresión, ralentización, pantalla dividida, etc.). Se evidencia entonces cómo el film-ensayo español contemporáneo genera una progresiva deconstrucción de la subjetividad ensayística mediante procedimientos asociados a los dispositivos de enunciación analizados – ficcionalización, sustracción, desautomatización, objetivación, desintensificación, descentramiento y borrado – que oscilan entre los polos de la reflexión racional y la emocional.
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Chawla-Duggan, Rita, Susan Milner, and Jill Porter. "Reflexivity and visual technology in research: young children’s perspectives of paternal engagement in the home environment." Qualitative Research 18, no. 4 (September 11, 2017): 471–91. http://dx.doi.org/10.1177/1468794117728412.
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Although existing notions of reflexivity address the positionality of researchers, they rarely consider the processes through which methods and methodologies can come about. This study builds children’s reflexivity into the research design. Drawing on footage from a pilot visual ethnography of paternal engagement in home environments, we show first, that at one level, building children’s reflexivity into data collection and analysis, allows us to look at the relationship between the child, technology and the subject of their images; thereby establishing a position from which their perspective is produced. We found that their age and the particular visual technology used, shaped how the children positioned themselves and in turn, the kind of representations we gathered. As this was a collaborative study with a film maker and also involving discussions of film findings with teachers; a more general level reflexive analysis allowed us generate different viewpoints from which their perspectives were produced.
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Wahab, Abdul, and Nurul 'Ainin Nafi'ah. "ANALISIS METODE DAKWAH DALAM FILM AYAT-AYAT CINTA 2." An-Nida : Jurnal Komunikasi Islam 12, no. 1 (July 15, 2020): 67–73. http://dx.doi.org/10.34001/an.v12i1.1212.
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Ayat-Ayat Cinta 2 the movie is a continuation of the previous film, Ayat-Ayat Cinta. This religious genre film is an adaptation of a novel by Habiburrahman El Shirazy with the same title. This research was conducted to examine the Analysis of Da'wah Method conducted by Fahri in Ayat-Ayat Cinta 2 the movie. This study uses a type of qualitative research with Roland Barthes's semiotic analysis method that examines the meaning of denotation, connotation and myth. The data collection technique used is documentation by analyzing scenes and dialogs on film scene footage. From the results of this study, it was found that the method of da'wah in Ayat-Ayat Cinta 2 the movie is the method of bil hikmah, bil mauidzah hasanah, mujadalah and exemplary (demonstration). The dominant method of da'wah is the da'wah method of wisdom and example (demonstration).
Keywords : Method of Da'wah, Movie, Roland Barthes's Semiotic
Film Ayat-ayat Cinta 2 merupakan kelanjutan dari film sebelumnya, Ayat-ayat Cinta. Film yang bergenre religi ini merupakan film adaptasi dari novel karya Habiburrahman El Shirazy dengan judul yang sama. Penelitian ini dilakukan untuk menelaah tentang Analisis Metode Dakwah yang dilakukan oleh Fahri dalam Film Ayat-Ayat Cinta 2. Penelitian ini menggunakan jenis penelitian kualitatif dengan metode analisis semiotik Roland Barthes yang mengkaji makna denotasi, konotasi dan mitos. Teknik pengumpulan data yang digunakan yaitu dokumentasi dengan cara menganalisa adegan dan dialog pada cuplikan scene film. Dari hasil penelitian ini, ditemukan bahwa metode dakwah dalam film Ayat-ayat Cinta 2 yaitu metode bil hikmah, bil mauidzah hasanah, mujadalah dan keteladanan (demonstrasion). Adapun metode dakwah yang dominan adalah metode dakwah bil hikmah dan keteladanan (demonstrasion).
Kata Kunci : Metode Dakwah, Film, Semiotik Roland Barthes
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Cornellier, Bruno. "Extracting Inuit: The of the North Controversy and the White Possessive." American Indian Culture and Research Journal 40, no. 4 (January 1, 2016): 23–48. http://dx.doi.org/10.17953/aicrj.40.4.cornellier.
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This article critically explores the heated controversy surrounding screenings of Québécois filmmaker Dominic Gagnon's found-footage documentary of the North 2015, into which he inserted “found” clips of northern Inuit life he had extracted from YouTube as aesthetic capital for southern cinephile jouissance. In conversation with Aileen Moreton-Robinson's theorization of the white possessive, I propose that the vocabulary employed by many of the settler cultural institutions and critics defending the film—e.g., the democratic imperative to protect artistic freedom and allow reasoned dialogue about “difficult” texts to flourish in public spaces—is inextricable from the type of entitlements sustaining settler colonial claims to indigenous lands, and to indigeneity itself, as part of a free and boundless Lockean common. I argue that such default recourse to the democratic imperative of restorative dialogue actually fails to do what it pretends it is meant to do: via mutual understanding and recognition, to solve or resolve the systemic colonial inequalities that Inuit opponents of the film wish to make visible. This common recourse to the “bestowing” of a deliberative public space in the name of a necessary intercultural dialogue reflects the very structure of feeling of liberal colonial settlement and thus reveals a certain cinephilia's subjective and material investment in the white possessive.
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Wilson, Emma. "‘Her hair over her arms and her arms full of flowers’: Love and Unknowing in Alina Marazzi's Un'ora sola ti vorrei (For One More Hour with You) (2002)." Paragraph 38, no. 1 (March 2015): 7–19. http://dx.doi.org/10.3366/para.2015.0143.
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In her first documentary film, For One More Hour with You (2002), Alina Marazzi explores ways of using cinema, and in particular carefully edited found footage, to attend to sensory presence, to girlhood, to female sexuality, to sensuality and love. Marazzi's work is sensitive to ways in which cinema may conjure another individual as sensate and animate, as affectively and erotically present, as touched, elated and damaged. Yet her work is also finely attuned to protection and to ethical delicacy, forging a responsive sensibility, reminding us of all that we also don't know of each other. Her focus on her mother Liseli Hoepli Marazzi, on her loves, on the moves from girlhood into more charged erotic and affective experience, is part of a broader feminist agenda. Marazzi's work encourages viewers to feel, to attend to sensation, whilst remaining uncertain of what is seen or heard.
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Hornsey, Richard. "The Independent Group Looks at London’s West End." Journal of Visual Culture 12, no. 2 (August 2013): 292–312. http://dx.doi.org/10.1177/1470412913488756.
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In the early 1950s, British culture was dominated by welfare-state visions of urban reconstruction. These projections of a stable civic society were premised on a particular way of looking at and reading the metropolitan environment. At odds with this project, the Independent Group’s discussions and collaborative work developed an alternative urban semiology, which found the city to be already rich in visual resources for fashioning a more profound form of social democracy. Soon, this critical engagement would develop in different directions, represented here by Lawrence Alloway’s commentary on Piccadilly Circus in his essay ‘City Notes’ and the London footage inserted by John McHale into his film for the Smithsons’ Berlin Hauptstadt project (both 1959). By the end of the 1950s, members of the erstwhile Independent Group had produced two contrasting critical accounts of how the metropolitan centre should be looked at, which challenged the strictures of post-war reconstruction in distinct and conflicting ways.
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Petin, Dmitry I., and Maksim M. Stelmak. "Anti-Bolshevik Omsk in 1919: A Source Study Analysis of the French Intervention Newsreels." Herald of an archivist, no. 1 (2018): 48–64. http://dx.doi.org/10.28995/2073-0101-2018-1-48-64.
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After the opening in 2012 basis of a Center for Studying History of the Civil War at the premises of the Historical Archive of the Omsk Region, a newsreel, shot in April–May 1919 by French military journalists became well-known to scientific and cultural community. And yet despite great popularity of this unique and ‘live’ historical source among filmmakers and journalists, it remains unstudied by researchers. The article aims to fill the lacuna in order to introduce the French newsreel of the anti–Bolshevik Omsk into scientific use. For this purpose, the authors have carried out an attribution and a historical analysis of the film document. The study incorporates scientific publications and an array of historical sources (including photo documents), which the authors have found in the fonds of archives and libraries. The resulting study follows the footage and identifies buildings and places on the film. It also provides a detailed description of what the buildings housed in 1919, when Admiral Kolchak was in power, and what they house now. It points out the well-known personalities of anti-Bolshevik Omsk (A.V. Kolchak, M. Zhanen, A.I. Dutov). Attribution of the French newsreels depicting Omsk in 1919 allows to reconstruct daily life of a provincial town, which had been for a time the capital of anti-Bolshevik Russia. The chronicle features official aspect of White Omsk, but also some particulars of town life and Omsk urbanism of a hundred years ago, which are of great value for historians. It is noteworthy that visual sources on the Civil War are little used by researchers. The fact enhances the significance of the publication, which may be of interest to military historians studying the Civil War and foreign military intervention, scholars in the history of Siberia, source studies, and history of everyday life.
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Zanini, Claudio Vescia. "The Subversion of Factual Discourse in Found Footage Films." Aletria: Revista de Estudos de Literatura 25, no. 3 (April 28, 2016): 85–94. http://dx.doi.org/10.17851/2317-2096.25.3.85-94.
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This article analyzes how the textual design of found footage films subvert factual discourse in order to increase the intended horror on screen. Movies such as Cannibal Holocaust (1980), The Blair Witch Project (1999), Paranormal Activity (2007) and The Gallows (2015) capitalize on the blur between reality and fiction, interfering with the way part of the audience responds to the movies. The article also contends that found footage films are natural by-products of postmodern times, which is especially characterized by ‘convergence culture’ (JENKINS, 2008) and ‘the disappearance of something real’, as two prime features of this genre.
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Vasconcelos, Andre. "Particularidades sonoras no filme-ensaio: os sons found footage." Lumina 14, no. 2 (August 30, 2020): 22–38. http://dx.doi.org/10.34019/1981-4070.2020.v14.30106.
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Desde os anos de 1990, observamos uma crescente atenção para o filme-ensaio em reflexões conceituais elaboradas por teóricos do cinema. Quando nos debruçamos sobre a literatura produzida a respeito do assunto percebemos que o foco dos pesquisadores é dedicado ao desenvolvimento de análises que privilegiam abordagens visuais, literárias e filosóficas. Teorias e estudos específicos que evidenciam os aspectos sonoros (o discurso verbal e o musical) no âmbito do filme-ensaio se encontram de maneira escassa, desestabilizando o equilíbrio de forças entre a imagem e o som. Essa condição pode ser verificada nos estudos e análises sobre os filmes feitos com materiais de arquivo (found footage) em que de maneira geral a abordagem é feita pelo viés imagético. A partir de uma revisão crítica e análise dos filmes LBJ (1968), de Santiago Álvarez e Nuit et brouillard (1955), de Alain Resnais, o trabalho discute particularidades e nuances de sonoridades advindas de materiais de arquivos. Dessa forma, apresentam-se argumentos para a conceituação dos sons found footage, que corroboram para a formação do filme-ensaio refletindo sobre questões de ordem estética valorizando a riqueza e a diversidade de sua vasta produção em âmbito mundial.
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Negrea, Claudia. "Recreating Realities in Horror Films: the Found Footage Effect." Studia Universitatis Babeş-Bolyai Dramatica 64, no. 2 (December 15, 2019): 145–52. http://dx.doi.org/10.24193/subbdrama.2019.2.08.
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De Almeida, Rafael. "Da montagem ao collage: found footage, voz-over e filme-ensaio." Comunicação Mídia e Consumo 17, no. 48 (April 27, 2020): 148. http://dx.doi.org/10.18568/cmc.v17i48.1912.
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Objetiva-se investigar, à luz de Seams (Karim Aïnouz, 1993), como a voz-over, o found footage e o filme-ensaio são colocados em relação, bem como comportam-se enquanto práticas criativas autônomas, em obras que reutilizem imagens de arquivo. Partimos da hipótese de que a aproximação entre esses elementos se dá sobretudo por meio do procedimento de montagem, encontrando-se frequentemente conectado com a noção de collage. Pretende-se analisar os procedimentos de montagem do filme, para por fim sinalizar que o collage é o responsável não apenas por colocar em relação criativa a voz-over, o found footage e o filme-ensaio, mas por garantir que esses elementos potencializem seus papeis narrativos diante da construção textual discursiva e crítica, sobre o machismo brasileiro, pretendida pelo curta-metragem.
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Tenório Luna da Silva, Sabrina. "Found footage e apropriação de imagens: uma análise de Faceless." Lumina 14, no. 2 (August 30, 2020): 88–101. http://dx.doi.org/10.34019/1981-4070.2020.v14.30102.
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Nesse artigo pretendemos analisar a apropriação e reutilização de imagens de arquivo no cinema de found footage, regime estético que tem como característica o uso de imagens pré-existentes como base de sua realização. O nosso objetivo específico é analisar o filme Faceless (Áustria, Dir. Manu Luksch, 2007, 50’). Parte de um projeto artístico homônimo, o filme é resultado da apropriação e montagem de imagens produzidas por CCTVs, câmeras de segurança de circuito fechado, espalhadas na cidade de Londres, no Reino Unido. As imagens foram adquiridas dentro dos temos da Lei de Proteção de Dados britânica de 1998, que fornece aos cidadãos o direito de acessar dados pessoais armazenados em computadores, o que inclui imagens gravadas por CCTVs. A narrativa fílmica foi desenvolvida no processo de obtenção das imagens, cuja lei impõe limites relativos à privacidade alheia no caso da sua publicação ou reutilização. De acordo com as diretivas da lei, isso pode ser feito obscurecendo o rosto dos demais indivíduos presentes na cena. Tais condições são assimiladas pelo cenário e pela narrativa fílmica, que dialoga de forma crítica com o sistema contemporâneo de crescente vigilância e visibilidade.
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Habib, André. "Archives, modes de réemploi. Pour une archéologie du found footage 1." Cinémas 24, no. 2-3 (May 22, 2014): 97–122. http://dx.doi.org/10.7202/1025150ar.
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Le cinéma de réemploi (ou defound footage) suscite depuis une quinzaine d’années un engouement critique et théorique qui va de pair avec la « fièvre de l’archive » qui parcourt actuellement le champ des sciences humaines. On peut toutefois s’étonner du manque de considération ou d’attention dont font parfois preuve certains de ces chercheurs à l’égard des questions proprement matérielles, des opérations techniques, des contextes historiques précis qui ont permis, autorisé ou rendu possible la réalisation de films aussi différents — et reconnus — queTom, Tom, the Piper’s Sonde Ken Jacobs,Eurekad’Ernie Gehr,Public Domaind’Hollis Frampton, etc. L’origine des matériaux réemployés, le contexte historique de leur accessibilité et les techniques de leur réemploi — en somme, tout ce qui compose les gestes d’excavation et de reproduction de ces films d’archives — déterminent sur bien des aspects l’expérience de ces oeuvres (de leur fabrication à leur réception) et l’imaginaire de l’archive qu’elles médiatisent. À partir d’un certain nombre de cas et en examinant différents contextes historiques, ainsi que les modes précis de réemploi des films de la collection despaper printsà Washington, cet article propose un modèle pour une archéologie dufound footage, afin de rendre justice à ces gestes de réemploi, d’en retrouver la beauté et l’intelligence, en les réinscrivant dans leur histoire, leur technique, leur matérialité propres.
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ARLAUSKAITĖ, NATALIJA. "DOKUMENTAS IR / AR PRISIJAUKINTAS VALDŽIOS ŽVILGSNIS: „BLOKADOS“ ARCHYVAS." Politologija 69, no. 1 (January 1, 2013): 88–132. http://dx.doi.org/10.15388/polit.2013.1.1152.
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Šis straipsnis skirtas masinio ilgalaikio nykimo ir jo vaizdavimo kino dokumentų bei jų archyvo (per)tvarkymo šiuolaikiniame kine ypatumams. Tam, kaip tam tikros – dokumentinės – atminties formos konstruojamos ir įreikšminamos šiuolaikiniame kontekste, ką šių atminties formų „pripažinimas“ sako apie kolektyvinį „pripažįstančiųjų“ tapatumą ir istorinės atminties konfigūraciją. Pagrindinė jo medžiaga – rastos medžiagos filmai (found footage film), sukurti Antrojo pasaulinio karo kino dokumentų pagrindu, pirmiausia pasakojantys apie Holokaustą ir Leningrado blokadą.Bendrąjį aptarimo rėmą sudaro istorinės atminties ir jos konstravimo kine problematika. Pirma straipsnyje susitelkiama į (karo) archyvo sampratą ir Antrojo pasaulinio karo vizualiųjų dokumentų perinterpretavimą. Toliau aptariamas žmogiškumą kvestionuojančių patirčių vaizdavimas / regėjimas bei jo iššūkiai. Galiausiai detaliai nagrinėjamas Sergejaus Loznicos filmas „Blokada“ (2006). Jo analizė atskleidžia, kokią archyvo sistemą sukuria jo pasakojimo ypatumai, kokią galios poziciją jie transliuoja ir kaip filmas iš dalies atsako į klausimą „Ką reiškia reprezentuoti karą šiuolaikinėje Rusijoje?“ Tokia dėstymo logika leidžia panagrinėti, kiek suvokimo modeliai ir žodynas, išplėtoti „paradigminiu“ – Holokausto – atveju, gali būti pritaikyti / apriboti kalbant apie kitus masinio naikinimo / nykimo atvejus, taip pat Leningradoblokadą.Loznicos „Blokada“ rodo, kad konsensuso dėl istorinės „tiesos“ kaina (ir tikriausiai ne tik Rusijoje) – įsitraukimas į retroscenarijų, nors ir su išlygomis, o archyvavimo konvencijos vargiai gali būti radikaliai pakeistos dirbant su institucijos vardu pagamintais liudijimais, „sutvarkomais“ pasitelkiant dominuojančią reikšmių suteikimo formą. Galiausiai „Blokada“ parodo karo atminties archyvo, surikiuoto sovietmečiu ir iki šiol suteikiančio pagrindą pozityviam Rusijos tapatumui, adaptavimo šiuolaikiniam kontekstui ribą – jis išlieka pergalės mito, kuriame priešai nubausti ir pergalės saliutas įvykęs, ribose.
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Erihadiana, Mohamad, and Cecep Hilmi Nurdin. "Affective Aspects in Jurisprudence Based Online Learning Minister of Religion Decree 183 of 2019." Belajea: Jurnal Pendidikan Islam 6, no. 1 (June 21, 2021): 73. http://dx.doi.org/10.29240/belajea.v6i1.2341.
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Online learning during a pandemic tends to overlook the affective aspects which are very important in the 2013 Curriculum. In line with the implementation of KMA 183 2019 in the 2020/2021 school year, jurisprudence learning in madrasas must also adjust. This paper aims to suggest ways of applying the affective aspects even in online learning as it is today. Because online learning is very dependent on adequate technological literacy, while there are still many people who are not at that level. This research is a library research with a descriptive approach and the data collection technique uses library materials. The results of the study from various literature sources are concluded to be an explanation for solving the problem. From this research it was found that there are various ways that can be used to maintain the affective aspects of online learning, one of which is when in Basic Competence (KD) about spiritual aspects, namely: "Living and practicing everything that has been taught for good things is as a form of gratitude for the gift of Allah SWT ", so to achieve this goal in online learning can be implemented using video media or film footage that explains and contains points to appreciate all the material taught in fiqh learners as a gift from Allah SWT. The variety of ways of learning can be epective depending on the teacher's strategy and what media or learning services are used in the online learning being carried out.
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Blos-Jáni, Melinda. "Sensing History. On the Uses of Medium-Specific Noise in Eastern European Found Footage Films." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (October 1, 2018): 137–63. http://dx.doi.org/10.1515/ausfm-2018-0008.
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Abstract This article examines how sensual aspects of the moving image, such as visual errors, blurring and technical disturbances are employed in found footage films dealing with Eastern European socialist past and the regime changing events. In the selected films Eastern European socialist visual culture is reworked with the cinematic practices of the post-media age in order to shape the spectators’ historical consciousness. By deliberate reframing and intensifying the medium-specific noises of the archival sources, or by an artificially created visual precariousness a new type of spectatorial awareness is created. The article delineates four different strategies through which the mediality of the recycled archival footage is brought to the fore and made operational (engaging the senses of its viewers).
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김지훈. "Renewing Found Footage Filmmaking with Digital Technologies: Ken Jacobs’s Recent Digital Films." Film Studies ll, no. 66 (December 2015): 33–70. http://dx.doi.org/10.17947/kfa..66.201512.002.
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Wees, William C. (William Charles). "The Ambiguous Aura of Hollywood Stars in Avant-Garde Found-Footage Films." Cinema Journal 41, no. 2 (2002): 3–18. http://dx.doi.org/10.1353/cj.2002.0006.
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Aguilar Alcalá, Sergio José. "El espectáculo, la cámara, la autoría y la vigilancia en el found footage." Contratexto, no. 034 (2020): 21–49. http://dx.doi.org/10.26439/contratexto2020.n034.4864.
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Se discuten las características de las películas conocidas como found footage a través de la ontología de la cámara, la distinción entre ficción y no ficción, la distinción entre filmación y película, y entre un autor explícito y una agencia autoral de la enunciación. Para ello serán esenciales los aportes de Edward Branigan y Carl Plantinga. Se analizan películas a partir de estos ejes, donde se trata de entender el modo singular en que cada filme articula el problema universal del género: la brecha entre el enunciado y la enunciación. Esta grieta irreductible, del modo en que la plantea el psicoanálisis, es necesaria para comprender el tipo de verdad que puede encontrarse en el found footage.
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H van Dun, Desirée, and Celeste P. M. Wilderom. "Improving high lean team performance through aligned behaviour-value patterns and coactive vicarious learning-by-doing." International Journal of Operations & Production Management 41, no. 13 (August 30, 2021): 65–99. http://dx.doi.org/10.1108/ijopm-11-2020-0809.
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PurposeWhy are some lean workfloor teams able to improve their already high performance, over time, and others not? By studying teams' and leaders' behaviour-value patterns, this abductive field study uncovers a dynamic capability at the team level.Design/methodology/approachVarious methods were employed over three consecutive years to thoroughly examine five initially high-performing lean workfloor teams, including their leaders. These methods encompassed micro-behavioural coding of 59 h of film footage, surveys, individual and group interviews, participant observation and archival data, involving objective and perceptual team-performance indicators. Two of the five teams continued to improve and perform highly.FindingsContinuously improving high lean team performance is found to be associated with (1) team behaviours such as frequent performance monitoring, information sharing, peer support and process improvement; (2) team leaders who balance, over time, task- and relations-oriented behaviours; (3) higher-level leaders who keep offering the team face-to-face support, strategic clarity and tangible resources; (4) these three actors' endorsement of self-transcendence and openness-to-change work values and alignment, over time, with their behaviours; and (5) coactive vicarious learning-by-doing as a “stable collective activity pattern” among team, team leader, and higher-level leadership.Originality/valueSince lean has been undertheorised, the authors invoked insights from organisational behaviour and management theories, in combination with various fine- and coarse-grained data, over time. The authors uncovered actors' behaviour-value patterns and a collective learning-by-doing pattern that may explain continuous lean team performance improvement. Four theory-enriching propositions were developed and visualised in a refined model which may already benefit lean practitioners.
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Acker, Ana Maria. "Do slasher ao found footage: as transformações do ponto de vista no cinema de horror." Revista_Mídia_e_Cotidiano 12, no. 2 (August 31, 2018): 97. http://dx.doi.org/10.22409/ppgmc.v12i2.10056.
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O artigo discute as origens da câmera subjetiva diegética no cinema de horror found footage a partir do pressuposto de que tal estratégia narrativa possui relações com a câmera subjetiva do slasher, subgênero que gerou polêmica nas décadas de 1970 e 1980. O texto problematiza o uso da câmera subjetiva e a transformação em diegética nos anos 2000, tendo como foco as características de nossos modos de olhar nas produções de horror contemporâneas. Pontuamos algumas mudanças no consumo do filme de horror após a metade do século passado e as relacionamos com as análises de sequências de quatro produções: As Fitas de Poughkeepsie (2007), direção de John Erick Dowdle; [Rec] (2007), [Rec] 2 – possuídos (2009), ambos realizados por Jaume Balagueró e Paco Plaza; e um episódio de V/H/S/2 (2013), filme de Simon Barrett, Adam Wingard, Eduardo Sanchez, Gregg Hale, Timo Tjahjanto, Gareth Huw Evans e Jason Eisener.
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Hart, Adam Charles. "The Searching Camera: First-Person Shooters, Found-Footage Horror Films, and the Documentary Tradition." JCMS: Journal of Cinema and Media Studies 58, no. 4 (2019): 73–91. http://dx.doi.org/10.1353/cj.2019.0058.
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Jarosi, S. "Recycled cinema as material ecology: Raphael Montanez Ortiz's found-footage films and Computer-Laser-Videos." Screen 53, no. 3 (September 1, 2012): 228–45. http://dx.doi.org/10.1093/screen/hjs018.
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