In this article, I aim to examine the ways virtual technologies have affected on the arrangement of the cinema space. Virtual technologies are eventually referenced here as virtual production (VP), which makes it possible for filmmakers to mix live footage and computer graphics interactively while filming on set. The cinema space, respectively, is delineated along the views provided by the enactive approach and neuroscience of emotion. The enactive approach in cognitive science describes the relationship of a human being to her environment as an embodied experience, and neuroscience of emotion bridges the gap needed to understand the role of an enactive system in meaning-making. I will also focus on how the concept of digital cinema has evolved since its beginning from the perspective of both practice and theory. I render how digital cinema first resembled in its functions the traditional glass matte paintings behind the character and gradually turned into manifesting an essential hookup between the filmmakers and digital content. I wish to abandon the idea that digital image just represents a pictorial illusion of reality and instead see it making possible a lifelike simulation of the digital environments throughout the filmmaking process, eventually blending the borders of pre-, production and postproduction phases. This weaving of interactive digital tools into cinema practice has created new approaches, which tend to emphasize intense body-related experiences, thus conveying a thickened sense of immersive presence in the film experience.

El Diccionario de conceptos y términos audiovisuales, tal y como reza el subtítulo, es una herramienta conceptual, docente y práctica, orientada a su uso como consulta y, en su caso, divulgativa. Si bien el objetivo esencial es que el lector pueda navegar con seguridad en el entorno de los innumerables términos necesarios para la ejecución del análisis fílmico, no queda ahí su validez. De hecho, cada término va acompañado de bibliografía (elemental, si se quiere, pero indispensable) que permitirá con facilidad ampliar las líneas de autoformación propias de cada individuo, con especial rentabilidad para los alumnos universitarios.
No se pretende una acumulación global de conocimientos ni tampoco una visión holística, sino un anclaje de punto de partida que permita dar el salto hacia mayores capas de comprensión del universo audiovisual, incluyendo las múltiples novedades aportadas por la era digital. Para ello, se sigue la estela de los 'Keywords Reference Books' y más concretamente del excelente texto de Jacques Aumont y Michel Marie, ?Dictionnaire théorique et critique du cinéma', más orientado hacia la teoría que hacia la divulgación de los recursos expresivos y narrativos, campos ambos que aquí sí se abarcan.
Este es un texto inédito en nuestro panorama editorial y a buen seguro se ampliará y crecerá con las aportaciones críticas de los lectores y, además, se refuerza mediante ejemplos gráficos en el sitio web construido al efecto, de libre acceso, http://www.analisisfilmico.uji.es.

RESUMO: Através de breve relato das transformações tecnológicas apresentadas pelo cinema ao longo de pouco mais de um século, o presente artigo aborda como a função atualmente denominada direção de arte acompanha estas inovações. Tendo como recorte os cinemas europeu e norte americano, é assinalado o modo pelo qual a direção de arte modifica seu fazer, adaptando-se às mais diversas tecnologias introduzidas na realização cinematográfica, dos primórdios até o cinema digital dos dias atuais.
PALAVRAS-CHAVE: cinema, tecnologia, direção de arte.

Art direction: of cinematographer to digital cinema

ABSTRACT: Through a brief report from the technological transformations presented by the movie industry through more than a century, this article addresses how the function currently named Art direction follows the varied innovations. Having snippets of European and American movies, it is signalled the approach that Art Direction modifies its usage, adapting itself to the most diverse technologies introduced in filmmaking, from the early stages to nowadays digital cinema.
KEYWORDS: cinema, technology, art direction.

Encompassing experimental film and video, essay film, gallery-based installation art, and digital art, Jihoon Kim establishes the concept of hybrid moving images as an array of impure images shaped by the encounters and negotiations between different media, while also using it to explore various theoretical issues, such as stillness and movement, indexicality, abstraction, materiality, afterlives of the celluloid cinema, archive, memory, apparatus, and the concept of medium as such.

Grounding its study in interdisciplinary framework of film studies, media studies, and contemporary art criticism, Between Film, Video, and the Digital offers a fresh insight on the post-media conditions of film and video under the pervasive influences of digital technologies, as well as on the crucial roles of media hybridity in the creative processes of giving birth to the emerging forms of the moving image. Incorporating in-depth readings of recent works by more than thirty artists and filmmakers, including Jim Campbell, Bill Viola, Sam Taylor-Johnson, David Claerbout, Fiona Tan, Takeshi Murata, Jennifer West, Ken Jacobs, Christoph Girardet and Matthias Müller, Hito Steyerl, Lynne Sachs, Harun Farocki, Doug Aitken, Douglas Gordon, Stan Douglas, Candice Breitz, among others, the book is the essential scholarly monograph for understanding how digital technologies simultaneously depend on and differ film previous time-based media, and how this juncture of similarities and differences signals a new regime of the art of the moving image.

The unprecedented economic growth and immigration that Ireland experienced between 1995 and 2007 did not only challenge national but also ethnic, social, and gender identities. The contributions to this volume explore how films tackle these challenges and help to make sense of Ireland’s altered position in a globalised world. Among the films discussed are some of the most critically acclaimed Irish films of recent years, including Once (2006), Adam & Paul (2004), Garage (2007), and The Secret of Kells (2009), as well as the work of Oscar-winning director and writer Neil Jordan. The volume is completed by an extensive interview with award-winning director Lenny Abrahamson, and his collaborator, screenwriter and actor Mark O’Halloran.

Perhaps it is telling that on the day that Steve Jobs (Danny Boyle, 2015) was released in the UK, so too was Tangerine (Sean Baker, 2015), which tells the story of transgender sex workers in Los Angeles. For, if the former film charts the rise to success of the entrepreneur behind various of the Apple products that now flood the world market, the latter film was made using one of Jobs’ best known products, the iPhone.

Quince años tuvieron que pasar desde que Germán Scelso acabase la primera de sus películas, significativamente titulada El fin (1996), para que empezásemos a ver su trabajo. Quince años en los que el cineasta se prueba, se equivoca, aprende, en definitiva, encuentra su camino. O quizá no tanto, ya que si algo está claro en el trabajo de Scelso desde un primer momento es que es un cineasta con una mirada, con una capacidad de formalización de las imágenes y con una ética muy particulares. Todas ellas están en El fin, pero también en De ojos privada (2003), Cogombre , El engaño o Un pensamiento de Laura (2009), por referirnos a la obra menos reciente que conocemos. Es cuando menos paradójico que en el tiempo de las autopistas de la comunicación, de un mundo conectado en Internet, la obra de Scelso permanezca quince años oculta o, al menos, no tenga la visibilidad que se merece. No es este el lugar para analizar el porqué de dicho fenómeno, aunque está claro que los agentes culturales/cinematográficos de nuestro entorno alguna responsabilidad tienen, pero sí al menos el lugar para señalarlo.

This chapter aims to present mental representations by seven audiovisual specialists on Sirena, the antagonist of a noir fictional story in a multilinear interactive short film script. To this end, a reception study was created with in-depth interviews with specialists after reading the script to discuss its several aspects. This approach is of qualitative character. The study was conducted between June and October 2015 in São Paulo, Brazil. It is possible to perceive that participants have interpreted the character differently in spite of its consistent build. We could verify that the mental representation of the antagonist was aided by the world-view and experience of each interviewed specialist, which has led to unique readings of the character.

The following articles are framed around the assertion that cinema audiences can be as unwieldy, wild and dynamic as the films that play on the screen. In this Themed Section on the subject of cinema-going behaviour, etiquette and decorum, we have sought to canvas a wide range of cultural contexts, technological innovations or disruptions and time periods. Throughout, our aim has been to continue the task of questioning just how cinema and screen culture broadly is experienced and engaged with day-today in-situ and, in the process, how it is reshaped and animated by the audience. Today, screen media are ubiquitous and very often experienced in relative isolation on laptops and hand-held devices within intimate, private spaces and virtual cocoons of seclusion carved out of public space-as when travelling on public transport, for instance. Yet, cinemas continue to operate despite ailing business models and screen media that is accessed online involves exciting new means of social inte...

The documentary sports film has evolved considerably since it first appeared in the 1930s. As was a feature of early documentary in the 1920s and 1930s, its first manifestations adopted a poetic approach to the subject, revelling in the possibilities that sport offered to exploit the growing range of capabilities of film in both cinematography and editing. Eventually an expository approach would come to dominate under the influence of the British school of documentary but also as the preferred televisual mode for documentary film, and it is in this mode that most television sport documentaries currently employ. In response to perceived weaknesses of the expository mode, and the advent of new technologies in the 1960s, filmmakers exploited an increasingly observational mode in their depictions, and this would also feature to a limited degree in depictions of sport. Directors of sport films have tended to prefer a participative (or interactive) mode in their approaches to the topic, exemplified in the use of the interview method as a means of exploring the subjects considered. However, increasingly, as with documentary films in general, the cinematic sport documentary employs aspects of several modes, particularly the participatory and expositional. While initially priding itself on its distinctness as a form that captured with integrity aspects of social reality, the documentary film has more and more in its cinematic form come to adopt aesthetics associated with popular fiction film. Though documentary has long being viewed as the form best placed to provide complex engagements and understandings of the social and political contexts of the subjects featured, this is increasingly no longer the case in its contemporary cinematic manifestations. Rather, the focus has moved to exploiting the dramatic possibilities of found footage or renderings of social reality rather than providing a means of understanding or engaging critically with such footage. The cinematic sport documentary film has instead focused, as in fiction film, on individualist tales of overcoming and achievement often configured within the familiar three-act-structure of popular cinema.  As such, in the post 9/11 moment, the cinematic sport documentary film has provided, in common with its fictional counterpart, a further affirmation of the American Dream ideology in individualist tales of overcoming and achievement often against the most extraordinary odds.

La otra pantalla. Redes sociales, móviles y la nueva televisión Elena Neira Barcelona Editorial UOC, 2015 149 páginas 14 € Big Data. Eje estratégico de la industria audiovisual Eva Patricia Fernández (ed.) Barcelona Editorial UOC, 2016 169 páginas 18 €

Michael Bay’s Transformers series presents impossible spaces, unbelievable characters and almost incomprehensible narratives. Instead of spatially and psychologically orienting the spectator, these films aim for a maximum of action and affect, a cacophony of movement and metal. My paper will interrogate the use of continuity in Bay’s films in order to understand their chaotic mode of narration and the implications of this for spectatorial engagement. Classical continuity defined a specific mode of spatial production and a concomitant notion of character creation and storytelling. Without cognitive traction on space to provide the perspective and psychology of the characters, and with the speed of editing and abundance of digital spectacle threatening to take over from narrative concerns, Transformers marks a shift in how we engage with stories.

Emphasising the spectacular in “post-cinema” allows Steven Shaviro to argue for the importance of the affective engagement offered. Against this, I will read the Transformers series through a concept of epistemological noise, informed by Cecile Malaspina’s genealogy of the idea in cybernetics and information theory. Instead of placing noise on the negative side of a Manichean dichotomy with information, Malaspina foregrounds the “role of noise in the formation of knowledge.” By reading Bay’s narratives as “noisy,” my paper will explore the epistemological gain that we, as spectators, can take when this “noise can become possible information.” Finding signal in a noisy narrative thus becomes a metonymic task of spectatorial engagement, where understanding the story in Transformers and deciphering information from noise can be epistemological training for a self-grounding of reason, a way of learning to navigate the contemporary media landscape that the films are part of. The incomprehensibility of Bay’s narratives allows this flexing of reason; it is the spectator’s agency that can be affirmed through the task of making sense of the story.

《電影符號學：從古典到數位時代（新版）》是電影理論工作者齊隆壬長期研究的成果，詳細耙梳並剖析符號學的發展源流與變革，以及著名學者的理論，如索緒爾、李維史陀、羅蘭巴特、皮爾斯等。接著帶出電影理論的關鍵人物──克利斯蒂安．梅茲，闡釋他如何把符號學，以及相關領域如語言學、結構主義、精神分析運用至電影分析，奠定電影符號學在電影理論界的重要地位。也因電影符號學涵蓋的範圍甚廣，而讓電影分析有了更多可能性。除了回顧西方符號學與電影符號學的理論與沿革，作者也把討論拉回台灣與中國大陸，介紹電影符號學在兩岸的發展脈絡與特點。

　　在理論層面之外，作者也引用許多影片分析的範例，清楚說明電影符號學是如何應用於電影研究之中。而近來電影科技日新月異，已進入數位電影時代，因此第九章即在討論電影由膠卷轉為數位影像的變革，除了提及古典電影如《波坦金戰艦》、《月球之旅》等必會出現的經典例子，更舉《阿凡達》、《全面啟動》、《雨果的冒險》為例，把電影符號學理論連結至最新的影片發展上。

　　電影符號學雖看似古典，在現今的數位環境中非但沒有過時，反而受到電影理論學者大量援用，依然能夠提供理論架構和基本論點。而本書由符號學的發展開始，一直到電影符號學與數位電影的連結，提供了全面且獨到深入的見解，堪稱是近期電影理論的重量級著作，研究電影者不可不看！

In screen studies and photography studies, the name of the acclaimed film theorist and critic André Bazin is frequently invoked by scholars seeking to defend the import of analogue media on ontological grounds by citing photography's privileged connection to the real. This article seeks to unsettle Bazin's reputation as the patron saint of analogue recording by exploring the ontological implications of the concept of sense in Bazin's writings on neorealism. Placing Bazin's writings into dialogue with a selection of critiques that find the digital image to be lacking in historicity, negativity, and presence, and flag its potentially authoritarian impulses, this essay seeks to reframe Bazin's ontological project as a question of cinema's sense (rather than its essence) to mobilize a different set of conclusions that may in fact prove to restore faith in the digital image and its rapport with the real. By maintaining that what is often treated as a purely technological problem also harbors aesthetics implications, this article confronts the manifest skepticism that has pervaded the discourse around the digital since the 1990s, seeking an alternative outlook in Jean-Luc Nancy's work on sense, an ontological concept that evidences the political potentials (or potential politics) of Bazin's predilection for images, which are said to ameliorate our love for reality by transmitting the excessive sense of the world in its ambiguity, creativity, and unpredictability.

Lana and Lilly Wachowski have redefined the technically and topically possible while joyfully defying audience expectations. Visionary films like The Matrix trilogy and Cloud Atlas have made them the world's most influential transgender media producers, and their coming-out retroactively put trans* aesthetics at the very center of popular American culture.

Cáel M. Keegan views the Wachowskis' films as an approach to trans* experience that maps a transgender journey and the promise we might learn "to sense beyond the limits of the given world." Keegan reveals how the filmmakers take up the relationship between identity and coding (be it computers or genes), inheritance and belonging, and how transgender becoming connects to a utopian vision of a post-racial order. Along the way, he theorizes a trans* aesthetic that explores the plasticity of cinema to create new social worlds, new temporalities, and new sensory inputs and outputs. Film comes to disrupt, rearrange, and evolve the cinematic exchange with the senses in the same manner that trans* disrupts, rearranges, and evolves discrete genders and sexes.

"An admirable, focused study of the Wachowski sisters, best known for their postmillennial science fiction films, especially The Matrix franchise....makes a case for considering their work alongside the canon of new queer cinema, despite their exclusion from that corpus at the time of its formation. Highly recommended." --Choice

"This captivating book does more than argue persuasively for the centrality of the Wachowskis' oeuvre in the recent history of cinema: it demonstrates how their embodied transgender experience is a central component of their aesthetic vision, and how transgender experience has become paradigmatic of visual semiotic practices in the increasingly ubiquitous digital media environment. Keegan offers lucid close readings of the entire Wachowski filmography, while also mapping generative points of overlap and intersection between cinema studies and trans studies. It makes a significant contribution to both fields."
--Susan Stryker, founding coeditor, Transgender Studies Quarterly

"This book is a revelation! Leaving behind the more pedestrian methods of examining cinematic narratives of transgender lives, Cael Keegan goes one huge step beyond. With this book on Lana and Lilly Wachowski, we have in our hands the first book to consider the transgender content of the Wachowskis' massively influential cinematic practice. The trans* cinema of the Wachowskis is, according to Keegan, not just disruptive and wildly imaginative, although it is definitely that, it also represents an expansion of the popular imagination and a very different sense of life in and beyond the matrix. Keegan gives a masterful account of the Wachowskis' world and drops his readers down the rabbit hole of a trans* altered reality. Bon voyage."
--Jack Halberstam, author of Gaga Feminism: Sex, Gender, and the End of Normal

En el contexto de los nuevos medias y la cultura del remix, se destaca el VJing como práctica de realización y representación audiovisual a tiempo real.

En esta obra se cartografía el territorio en el que se mueven las acciones de VJing como gestos performativos que toman impulso en los ochenta en la cultura de clubes. Aquí se presenta un recorrido por las distintas vanguardias artísticas con las que el VJing conecta retomando la genealogía estética y retórica en la cual se inscribe el fenómeno, paradigma de los procesos que determinan la realización y representación de un objeto audiovisual a tiempo real.

The history of Brazilian cinema is marked by many moments of euphoria and production crisis. Since the 1990s (a period that became known as the Resumption of the Brazilian Cinema), the film market in Brazil has been stable and film production has increased each year, according to the National Agency of Brazilian Cinema (ANCINE). Thanks to new digital equipment, there is the " prosumer " , who not only consume what is produced, but also produces, even in an amateur way. However, the increase in production does not mean reach an audience without restriction, either through cinema, whether in home video distribution or internet. From the difficulties of distribution and exhibition in commercial theaters, the digital format has created favorable conditions for democratization of the access to the movies, facilitating them from reaching the public and in various formats. This communication is intended as an argument: a look at the brazilian film production in the first decade of this century, some of the strategies used in the context of new media, distribution and exhibition of produced works. Digital Cinema as a key guiding concept alludes to the multiplicity of aspects and highlights how the effects of new media led to the change in cinema.

In this article I am considering the situation of interactivity and interactive film in the institutional context of the cinema that is outlined by the rules of cinematographic industry. I draw attention to the fact that despite the ongoing digitalization in all cinematographic areas: production, distribution, presentation, and reception, interactivity is seen as a non-film feature and, as a consequence, it is marginalized. Cinematography opens up to any digital technological innovations that do not violate a standard model of film experience. Interactivity is seen here as a feature of games and not of films. An interactive film that is thrown to the periphery of institutionalized cinema, becomes a phenomenon of audiovisual avant-garde that is a common part of both cinema and art.

Ferhat Zengin’in hazırladığı bu kitap, Türkiye sinema endüstrisinin dijital teknolojiyle eklemlenmesinin tarihsel bir görünümünü sergilemekte, dijitalleşmenin potansiyellerini tartışmaktadır. Türk Sinemasında 2000 yıllarında yaşanan durgunluğun ardından teknolojik yenilenme ve sinemaya verilen desteğinin sonucunda Türk sinemasında üretilen filmlerin neredeyse tamamı dijital kameralarla çekilmiş, film gösterim salonları da hızla dijitale dönüşmüştür. Yapımcı-yönetmen sayısında artışlar olmuş, yerli film yapım sayısı ve sinema izleyicisi sayısı ve dolayısıyla film hasılatları artmıştır. Film üretim maliyetlerinin dijital teknolojiyle birlikte azalması, fiziksel altyapının erişilebilir olmasıyla birlikte yeni ve genç yönetmenler ilk filmlerini dijital ortamda çekmişlerdir. Dağıtım açısından küçük bütçeli, yerli dağıtım şirketlerinin sayısının arttığını, gösterim olanaklarının da çeşitlendiğini ortaya koyan araştırma, klasik sinema salonlarının yerine yeni gösterim merkezlerinin ortaya çıktığını, gösterimin kolaylaştığını, bir bilgisayar ve perde ile her mekanın gösterim alanına dönüştüğünü belirtmektedir.

Sinemada dijital teknolojinin açtığı olanakları bir radikal dönüşüm değil, bir süreklilik olarak ele almak gerekmektedir. Bu bağlamda yazar Türk Sinemasında dijitalleşmenin olanaklarını ve dezavantajlarını teknolojik belirleyicilik yanılgısına düşmeden disiplinlerarası bir perpsepktifle ele almaktadır. Kitap Türk Sinemasının 2011-2015 tarihleri arasındaki durumuna ilişkin olgusal verileri ortaya çıkaran ve bu alanda yapılan ilk araştırmalardan biri olması nedeniyle bundan sonra yapılacak araştırmalar için başvuru kaynağı niteliğini taşımaktadır.

-Prof. Dr. Nilüfer Timisi-
-İstanbul, Nisan 2017-
(Tanıtım Bülteninden)

(from editor's introduction): "...Alla Gadassik continues the focus on new technologies, moving beyond discussing CGI's function in bringing the ghost to (nonorganic) life to explore the way animation is itself, to an ever greater degree, a ghostly technique that threatens to erase or spectralize the bodily presence of the animator."

Dopo un lungo periodo di “disimpegno” dai temi politici e di rilevanza sociale che, in linea di massima, ha caratterizzato il cinema italiano tra gli anni ottanta e gli anni novanta assistiamo a un periodo di “rinascita” caratterizzato da un rinnovata necessità di confrontarsi con avvenimenti storici e fatti di attualità molto dibattuti dall’opinione pubblica e non ancora “assimilati” dal corpo sociale. Tra i fautori di questo nuovo fermento che si sta producendo nel cinema italiano contemporaneo vanno annoverati diversi registi tra cui: Marco Bellocchio (Buongiorno, notte del 2003), Nanni Moretti (Il caimano, 2006), Emanuele Crialese (Nuovomondo, 2006), Matteo Garrone (Gomorra, 2008), Paolo Sorrentino (Il Divo, 2008). Sarebbe un errore considerare l’impegno sociale e l’importanza etica di questi film solo sulla base di un realismo tematico (il terrorismo, i fenomeni migratori, il crimine organizzato, la commistione tra criminalità e politica, ecc.) e quindi tralasciando le modalità di rappresentazione e il discorso formale che le singole opere mettono in gioco. Pur condividendo l’interesse di critica e di pubblico che questi film hanno ricevuto, l’obiettivo del presente lavoro è quello di indagare, attraverso gli strumenti della semiotica strutturale, le modalità di costruzione e di rappresentazione del discorso politico concentrandosi su un singolo testo filmico. Il Divo (2008) sfrutta differenti modalità di testualizzazione della storia politica italiana con l’obiettivo di riattivare e rielaborare la memoria di eventi relativi al periodo di travagliata transizione dalla Prima alla seconda Repubblica. Soggetto privilegiato di questa “ricostruzione” è Giulio Andreotti (interpretato da Tony Servillo), uno dei principali protagonisti della storia politica italiana e rappresentante del più grande partito di massa, la Democrazia Cristiana. Per questo motivo, l’analisi si concentrerà sulle strategie di rappresentazione del “corpo del capo” e di spettacolarizzazione delle vicende che lo hanno coinvolto. A livello diegetico, non assistiamo alla pedissequa riproposizione di eventi ed esistenti, né ad una loro ricostruzione con il solo obiettivo di valutare le colpe o smascherare presunti colpevoli. In altre parole, Il Divo costruisce il suo discorso sulla storia politica italiana attraverso una messa in discussione costante dei testi che la hanno precedentemente veicolata o che ne erano parte integrante, in una tensione costante tra documentazione e rilettura di un passato traumatico. È il caso emblematico degli inserti audiovisivi in cui si “dà voce” alle lettere scritte da Aldo Moro durante la sua prigionia ad opera delle Brigate Rosse. Il film ne modifica in parte il contenuto e mostra gli effetti patemici sui soggetti politici a cui queste erano indirizzate. L’analisi si concentrerà inoltre sui modelli figurativi e sulle strategie narrative del monologo/confessione di Andreotti; la sequenza è un vero e proprio metadiscorso in cui emerge come la modalità del potere sia il valore centrale, se non l’unico, nella costruzione del discorso politico.

Analisamos o fenômeno da circulação informal de cinema na internet, oferecendo uma orientação sistemática dentro do vasto universo das redes de distribuição que se encontram às margens do mercado oficial. A pirataria é estudada como uma atividade cultural que corresponde a uma gama de interesses coletivos de dimensão global e se relaciona com as políticas normativas, a crítica à propriedade intelectual, a desobediência civil, o mercado, as inovações tecnológicas, a cultura participativa e as economias informais. Fazemos um recorte no universo de circulação informal para analisar, especificamente, a relação entre as redes BitTorrent, a distribuição de cinema e a cibercinefilia, apontando para o caráter híbrido dessas redes, onde meios informais e formais convergem, elementos técnicos combinam-se, nichos e culturas globais dialogam, sensibilidades morais relativizam-se, discursos, práticas cotidianas e ações políticas se desenvolvem e onde mercados se transformam. Demonstramos que, dentro do espaço não autorizado de circulação, podem ser encontrados centros especializados de distribuição com dimensão simbólica própria, que manifestam sentidos sobre o cinema, que se desenvolvem sob a influência de um imaginário cinéfilo e multicultural. 
Palavras-chave: Comunicação, Cinema, Circulação Informal, Internet, BitTorrent, Pirataria, Cinefilia. 

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This research analyses the phenomenon of informal film circulation on Internet, building a systematic orientation within the vast universe of distribution networks. Piracy is a cultural activity that corresponds to a range of collective interests of global dimension and relates to regulatory policies, critical intellectual property, civil disobedience, market, technological innovations participatory culture and informal economies. This study explores the relations between BitTorrent networks, cinema distribution and cibercinephilia, pointing to networks with hybrid nature, where informal and formal media converge, technical elements combine, niches and global cultures dialogue, moral sensibilities-relativize, speeches, daily practices and political actions are developed and where markets are transformed. We have shown that, within the space of unauthorized circulation, specialized distribution hubs have their own symbolic dimension, which manifest particular senses about cinema, under the influence of a movie buff and multicultural imaginary.
Keywords: Communication, Cinema, informal circulation, Internet, BitTorrent, Piracy, Cinephilia

¿Qué es un film? Sino un documento animado… un guion, un formato de una obra o una película; una forma escrita que luego ejecuta una acción en el presente, para perpetuar imagines en el futuro digitalizado o simplemente el pasado repetido en el futuro cuantas veces queramos. O no somos capaces los profesores y/o maestros de la historiografía o historia descifrar este acertijo antropológico; sin entrar en restricciones y reglas anal-retentivas de lo que debe ser una reseña historiográfica, perdiendo por completo de perspectiva la utilidad educativa de un documental o film que no necesita complementación bibliográfica. Es esta mecanización de la historia la que queremos ofrecer a nuestros estudiantes o alumnos. Que formas recalcitrantes y de educación bancaria promovemos como educadores al reseñar o criticar documentales o películas con formatos pre hechos y/o predeterminados.

The action sequences in Michael Bay’s Transformers series present impossible spaces. Instead of spatially orienting the spectator, these films aim for a maximum of action, a cacophony of movement where space once was. Bay states that he does not “get hung up on continuity”, arguing that the “intensity of the action doesn’t allow [the audience] to keep track of all these details”. My article analyses spatial noisiness in Bay’s films. 

Michel Serres states that “noise is a sign of the increase in complexity”, and Cecile Malaspina expands on this by tracing the ambiguities of noise in information theory. Eschewing the urge to place noise on the negative side of a Manichean dichotomy, Malaspina focuses instead on the “role of noise in the formation of knowledge”, arguing that “noise can become possible information”.

Instead of seeing the lack of spatial continuity in the Transformers films as an aberration from good filmmaking, this article will thus read the noisiness of Transformers as a kind of information. This will involve analysing Bay’s films through Steven Shaviro’s concept of “post-continuity” editing, where excessive affect trumps narrative concerns. If noise is a form of information, then perhaps Bay’s noisy films are indicative of future identities.

이 논문은 최근 10년 간 한국 독립영화 비평에서 주목을 받아 온 정재훈과 임철민의 영화를 ‘디지털 실험 다큐멘터리(digital experimental documentary)’의 관점에서 논의한다. 여기서 실험 다큐멘터리는 영화 제작의 목적과 양식 및 영화의 상영에 있어 서로 구별되는 두 범주로 인식되어 왔던 다큐멘터리와 실험영화의 생산적 교차와 상호 영향을 바탕으로 한 영화적 실천의 결과물을 가리킨다. 이렇게 볼 때 디지털 실험 다큐멘터리는 디지털 테크놀로지의 다양한 활용이 이와 같은 두 범주의 혼종적인 교환을 가동시키는 데 결정적인 역할을 수행하는 영화적 실천으로 정의된다. 정재훈(<호수길> [2009], <도돌이 언덕에 난기류> [2017])과 임철민(<프리즈마> [2013], <야광> [2018])의 영화적 실천을 디지털 실험 다큐멘터리의 관점에서 분석함으로써 이 논문은 한편으로는 이들의 영화가 필름 영화와는 다른 디지털 테크놀로지의 미학적, 형식적, 경험적 새로움을 탐구하면서도 다른 한편으로는 이와 동시에 이 테크놀로지의 매체-특정적 특징들을 영화사에서의 실험 다큐멘터리의 형태, 기법 및 관습과 연결한 결과로 볼 수 있음을 밝힌다.

This paper investigates the films of Jung Jae-hoon and Lim Cheol-min, which have received notable critical reception in Korean independent film criticism during the last decade, in terms of digital experimental documentary. Here, experimental documentary refers to a kind of films predicated upon the productive intersection and cross-influence of experimental film and documentary, two categories that have largely been regarded as mutually distinct or exclusive in the light of the purpose and mode of film practice, as well as of film exhibition. In this sense, digital experimental documentary can be defined as a set of films in which digital technology plays a vital role in facilitating the hybridized exchange between experimental cinema and documentary. Through the lens of digital experimental documentary, this paper demonstrates that the films of Jung (Hosu-gil [2009] and Turbulence at Dodoli Hill [2017]) and Lim (Prisma [2013] and Glow Job [2018]) explore digital technology’s formal, aesthetic, and experiential novelties while also linking its medium-specific features to the forms, conventions, and techniques of experimental documentary that have been developed in the history of cinema.

Coming to terms with the past and with memory – intended not as the depositories of fetishized histories but as reserves of the vital force needed for the characters' journeys – is one of the most evident motifs throughout Pixar's films. Its storytelling has proved to be one of the most capable in recent years to reinvigorating some of the foundational principles of American history and identity within the contemporary collective imaginary. Pixar's cultural project in fact has always been affected by the need to participate actively in the re-foundation of the American imaginary, in response to the progressive, general anxiety triggered by what many feared to be the fracturing powers of globalization. The Californian company therefore took up the mission of creating a composite and ecumenical cultural system, in which old and new, local and global, national and postnational could find their ideal synthesis.

En negro, suena 'Surrender' de Cheap Trick. Antes de que aparezca una sola imagen, en ese fotograma en negro que introduce un solo de batería, ya se nos sitúa en una época: Los años 80. 'Surrender' sale a la luz a finales de la década de 1970 como un himno adolescente de aquellos de la generación del baby boom. Con esta hábil acotación temporal mediante una canción sabemos qué nos vamos a encontrar: adolescentes en los años 80. Y, efectivamente, así arrancan los títulos de crédito iniciales de este filme.

The logic of new media corresponds to the postindustrial logic of "production on demand" and "just-in-time" delivery, which themselves were made possible by the use of digital computers and computer networks in all stages of manufacturing and distribution. In this regard, the "culture industry" is actually ahead of the rest of the industry. The idea that a customer determines the exact features of her car at the showroom, the data is transmitted to the factory, and that hours later is delivered the new car remains a dream; but in the case of computer media, it is already a reality. Since the same machine (i.e. a computer) is used as a showroom and a factory, and since the media exist not as a material object but as data that can be sent through the wires at the speed of light, the response is immediate.
This is the new logic of new media, or at least some of its axioms; but how does this logic manifests itself on the level of language? In other words, given the new structure of media on the material level (discrete character on different levels; distributed--that is, network-based--representation), and the new kind of operations we can perform on it (copy and paste, sampling, digital compositing, image processing, and other algorithmic actions), do we create different-looking images? In particular, since filmmakers can now compose feature films entirely on a computer, do they make radically new kinds of films?

Moroccan post-colonial cinema has suffered from the lack of adequate channels of domestic and international distribution and exhibition for most of its relatively short history. Despite the existence of a burgeoning distribution business and a wide network of cinemas across the country, distributors were broadly not interested in investing in national films until the 1990s. Up until that point in time, local films were not deemed interesting or lucrative enough in comparison with high-grossing Hollywood and Bollywood movies , which, due to their mass production scale, cost many times less per copy than local productions. However, things began to change in the early 1990s when a lone investor decided to distribute Abdelkader Lagtaâ's H UB FI D AR AL-BEIDA ("A LOVE AFFAIR IN CASABLANCA " 1991). The film was an instant box office hit and, in the process, proved beyond doubt that the distribution and exhibition of national films could make a profit. Distribution has subsequently played a crucial role in the growth of Moroccan cinema in both quantitative and qualitative terms. However, national cinema today faces new distribution and exhibition challenges, in particular the decline of cinema theatres and the emergence of film piracy. The latter is said to have seriously undermined the economic profitability of the legal distribution economy. In this essay, I want to argue against the grain of the pessimism characterizing the dominant discourse about the future of Moroccan cinema in the face of these two challenges. My argument is that film theatre closures and the prevalence of online and offline piracy are not in themselves life-threatening to Moroccan cinema. Instead, they are indicators of how a post-colonial cinema is adapting to the challenges of globalization and the digital revolution. Moroccan films are increasingly watched at home or on mobile devices rather than on big screens in dark rooms. In the same vein, the proliferation of online and CD-based piracy is not proven to have discouraged people from going to the cinemas to watch Moroccan films. The decline of filmgoing culture has other, much deeper social, demographic, and technological causes. The rise of new forms of circulation and consumption of Moroccan cinema in the twenty-first century is a sign of the emergence of novel and dynamic forms of “popular” film distribution and viewership.