2024/1 - #Open

Now showing 1 - 8 of 8

Archiving Europe: Unveiling the visual world through stock shots in French television (2001-2021)
Shen, Shiming (2024) , S. 370-386
The ANR CROBORA project investigates the influence of stock shots in fostering a shared European cultural imaginary through television and online media, focusing particularly on the selective deployment of visual elements. This data paper centers on an extensive dataset of French television content preserved by the Institut national de l’audiovisuel (INA), covering the period 2001-2021. Enhanced by meticulous manual annotation, the dataset provides a rich basis for examining the semantic nuances of these visual elements. The project aims to uncover patterns in the usage of these images, tracking their evolution and distribution across time and institutional boundaries. Additionally, the CROBORA project plans to offer this dataset on an innovative visual platform equipped with advanced functionalities to support exploratory data analysis, enabling researchers to integrate various keywords and delve into the data more effectively.
Editorial NECSUS: Spring 2024_#Open
Pape,Toni; Beugnet, Martine; de Cuir Jr, Greg; Keilbach, Judith; Loist, Skadi; Vidal, Belén; Virginás, Andrea (2024) , S. 1-3
The future of the screen: Exploring Venice Immersive with Liz Rosenthal and Michel Reilhac
Boato, Anja (2024) , S. 296-307
Within the Venice Film Festival, a dedicated section for immersive works was introduced in 2016, quickly gaining competitive status alongside traditional cinematic works. Venice Immersive serves as both an exhibition and promotion venue for XR and a forum for discussing pivotal market issues. This interview with the Venice Immersive creators and curators, Liz Rosenthal and Michel Reilhac, delves into the early stages of the section, its objectives, the challenges faced, and the major issues within the immersive works market.
Game engines: Optimising VFX, reshaping visual media
Livingstone, Tom (2024) , S. 180-201
Game engines have emerged as a significant site of convergence for several visual media pipelines, from XR to animation and In-Camera VFX (ICVFX). However, they are a computational medium – the images they produce are the derivative by-products of their management of computational complexity. Focussing on the game engine-dependent production technique of In-Camera VFX, this article will explore the ways in which game engine visuality incorporates and re-mediates a great deal of the phenomenological and epistemic characteristics of photographic visuality, in a way that de-prioritises visuality as a sensed and embodied experience. The article offers an outline of the image pipelines of photographic and game engine visuality, emphasising the difference in their relations to external phenomena, profilmic reality, and processes such as data management and computational optimisation. The article discusses the production logistics of ICVFX with specific reference to the ‘magic cutaway’, a trope that represents, in its ubiquity, the successful optimisation of both film production and ‘real time’ rendering within the virtual production context. The article will then offer a case study to open up not just the aesthetic impact of ICVFX, but to reflect on the de-prioritisation of photographic, lens-based images – correlated as they are to embodied ocular perception – within visual media. Speculating on the epistemic impact of a predominantly computational, as opposed to ocular, visual regime, this article will conclude by drawing insights from critical algorithm studies and the broader field of digital humanities.
On Distant Viewing
Braida, Nicole (2024) , S. 316-322
On reaching and creating your audience: VR artist Nemo Vos on the role of film festivals
de Valck, Marijke (2024) , S. 287-295
Dutch artist Nemo Vos discusses his approach to VR and his vision of the role played by film festivals in making VR available. Reflecting on the premiere of his work 8 Billion Selves at International Film Festival Rotterdam in 2024, Vos addresses both the challenges and advantages of exhibiting VR at festivals. Looking to the future, Vos outlines his vision for a series of co-created VR works, each featuring a different artist and aiming for distribution in theatres to achieve economic sustainability for the medium. The artist emphasises the responsibility VR artists themselves have in creating awareness and cultivating audiences, and details how he uses co-creation and collaboration with other art forms to elevate VR from a niche technology to a mainstream artistic form.
The two sides of VR utopia
Kim, Da Ye (2024) , S. 266-276
Why (film) festivals? Virtual reality experiences at a crossroads
Bédard, Philippe (2024) , S. 277-286

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