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Reconsidering Movie Special Effects: Aesthetics, Reception, and Remediation

 

In an era in which digital visual effects are ubiquitous, questions of aesthetic achievement and imaginative and creative labour are central to industry and public discourses on special effects craft.

At the same time, this ubiquity and its reception obscure the long aesthetic and craft histories of cinematic special effects, histories that are nostalgically invoked in much contemporary digital media practice.

This symposium will seek to unpick this complex web of relations between histories of reception, craft, and artistic endeavour in a reappraisal of the ‘special effect’ and its contemporary manifestations.

 

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In recognition of International Women’s Day, the School of the Built Environment will be hosting a 1-hour seminar with Chrissi McCarthy, founder and managing director of Constructing Equality. The event will be held in Miller G05, on 8 March, from 1 – 2pm, with refreshments served from 12:30pm. Chrissi will speak about the gender balance issues that face STEM professions (with a focus on built environment professions), the benefits of greater gender balance, and the role both men and women can play in strengthening the sector.

Please register here

 

International Women's Day

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Michaela Bergman, Chief Counsellor for Social Issues at the European Bank for Reconstruction and Development

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You are warmly invited to the next in our research seminar series on Thursday 2 March, 4.00-6.00 pm, G03, Henley Business School. We are delighted to host a talk by Andréa Franca.

Andréa’s abstract and biographical note can be found below.

MAKING PASSEIO PÚBLICO [PUBLIC SIDEWALK]: MONTAGE AND IMAGE AS A WAY OF SEEING PLACES OF THE PAST

The 15-minute short video Passeio Público [Public sidewalk] is a new expression of subjects dear to Andréa França’s heart as a researcher. For years she has been investigating the relationship between documentary and the usage of archive film through a few key questions which include: What artistic potential can be extracted from using archive footage in documentaries? How has such footage been reused? In what aesthetic form have the subjects of memory, history and forgetting been brought into play? The most thought-provoking documentaries in Brazilian film that draw on previously shot material are the ones that interrogate the document as objective evidence left behind by events. Passeio Público also seeks to open up the field of meaning of the images from the past. It tells a surprising story about images of the Brazilian city of Rio de Janeiro in the 1920’s. A story told through the debris of an unknown Alberto Botelho’s film made at that time and given as a gift to an Italian prince.

Andréa França Martins is researcher and Associate Professor in the Department of Social Communicationat Pontifical Catholic University of Rio de Janeiro (PUC-Rio). Member of the Decision Committee at SOCINE – Brazilian society of Cinema and Audiovisual Studies. She is the author of Terras e fronteiras no cinema politico contemporâneo (2003). Her contributions include chapter “Cinema de terras e fronteiras” for História do Cinema Mundial (2013, 7 edição), “Os brinquedos-fósseis e o tempo da memória” for Eu assino embaixo: Biografia, memória e cultura (2014), “La invención del Lugar en el cine brasilero contemporâneo” for Déplacements culturels : migrations et identités (2013), “Documentary Cinema and the Return of What Was” for New Argentine and Brazilian Cinema: Reality Effects (2013), “A imagem-excesso, a imagem-fóssil, a imagem-dissenso: propostas cinematográficas para a experiência da ditadura no Brasil” for Narrativas Sensoriais(2014). She is researcher of National Counsel of Technological and Scientific Development /CNPq.

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