2024/1 - #Open

Now showing 1 - 20 of 31

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.
Becoming a Netflix nation: Extroversion, exportability, and visibility through a case study of Maestro in Blue
Aitaki, Georgia (2024) , S. 242-265
Cooperation or conflict? Merging documentary filmmaking and oral history practices in The Eastside Project
Fisher, Ted; Mitchell, Don Allan (2024) , S. 116-134
Rigorous formal oral history practices have great academic and cultural value but tend to produce recordings rather than stories. Conversely, ‘creative documentary’ practices have reinvigorated traditional nonfiction film production but are often arbitrary in viewpoint and emphasis. Can using an open archive reconcile and re-energise these two practices? In 2022, we began filming video interviews for a new digital oral history archive at Delta State University in Cleveland, Mississippi. In this paper, we address essential conflicts between traditional oral history methodology and documentary filmmaking and how these practices can complement each other.
CORPS CANAPE
Frund, Morgane (2024) , S. 369-369
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 environmental footprint of animated realism: An ecomaterialist exploration of contemporary digital animated documentaries
Formenti, Cristina (2024) , S. 221-241
Despite animation techniques being highly material, the environmental impact of animation is understudied. This essay starts bridging the gap by investigating the making of digital animated documentaries through the lens of ecomaterialism. In particular, it brings to light how the quest for realism that prompts the production choices of creators of such works often comes at a significant cost to the environment. Indeed, many present-day digital animated documentaries prove unsustainable, because multi-layered, wasteful, and excess-informed modes of production that foresee a squandering of resources tend to be adopted when making them. In so doing, the need for animation-focused green protocols is made apparent, especially since, paradoxically, due to animation being a craft-oriented medium, such non-environmentally friendly approaches tend to be encouraged within the industry.
Formalism expanded
Davies, Byron (2024) , S. 308-315
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.
“I say! Neither a Whore nor a Saint”: Transgender memory, Spanish popular television, and media histories in Veneno
Horvat, Anamarija (2024) , S. 157-179
In March 2020, the series Veneno was released on the streaming platform Atresplayer Premium, immediately becoming one of the biggest media sensations in Spain. The series centres on the life of the television star Cristina ‘La Veneno’ Ortiz Rodríguez, who shot to fame during the 1990s. Herself a transgender woman, Veneno was frequently an object of both public fascination and mockery, with her life as a sex-worker and gender-identity often relayed in the media through sensationalistic and dehumanising terms. By focusing on a figure who was an object of public fascination, but whose experiences of discrimination were often trivialised, the series Veneno not only humanises its central protagonist, but also acts as a commentary on the broader history of transgender representation in Spanish media and as a re-evaluation of la Veneno’s own legacy as a prominent media representative of the trans community. In turn, this focus on both mediated and hidden histories of transgender experience reflects a broader turn in the Spanish televisual and cinematic landscape, which has shown a marked focus on excavating and recreating local LGBTQI histories, as is evident from recent television series such as Bob Pop’s Maricón perdido (TNT, 2021), Miguel de Arco’s Las noches de Tefía (Atresplayer Premium, 2023) and Javier Ambrossi and Javier Calvo’s Vestidas de azul (Atresplayer Premium, 2023), as well as in Pedro Almodóvar’s Madres paralelas (2021). In the case of Veneno, the recreation of transgender history also intervenes into current political discourses on transgender rights, with even Spain’s then-vice president Pablo Iglesias recommending the series to his followers on Twitter during a period of intense public debate surrounding the so-called ‘Ley Trans’ or ‘Trans Law’, which came into force in 2023. Drawing on this, this article will examine the ways in which the series intervenes into contemporary discourses surrounding trans rights, as well as how it comments on broader questions of transgender memory and the history of transgender media visibility within the Spanish context.
Insomnolence: The Sociability of Sleep at Agora Hydro-Québec
Pape, Toni (2024) , S. 329-339
Introducing open montage: Material performativity in urban media configurations in space
Jordan, Mel; Rizzioli, Giorgia (2024) , S. 74-96
This article introduces the concept of ‘open montage’, a framework developed to explore the media configurations between art, cinema, and urban space and the entangled relations this interplay presents in terms of publics and publicness. The unique perspective of our open montage concept enables us to put forth a framework for artistic arrangements in space, which liberates them from the confines of representation and human interpretation. Our argument for the notion of open montage also lies in its ability to challenge conventional theories about spectators, presenting them as active participants in a process of material embodiment bound by spatial and temporal constraints. The structure of our article revolves around the theme of openness. We draw on art, critical theory, and media studies literature to demonstrate the concept of open montage and its application in spatial coordinates. Subsequently, we explore the lens of posthumanism, aiming to challenge the linguistic account characterising the public dimension evident in the montage of our media configurations in space.
Liquid Spaces: Politics of the Screen, an interview with Doreen A. Ríos
Dekker, Annet (2024) , S. 340-348
The exhibition Liquid Spaces: Politics of the Screen, curated by Doreen A. Ríos for the Bienal Universitaria de Arte Multimedial (BUAM) in Ecuador, delves into the dynamic nature of environments shaped by digital technologies. Underscoring the complexities of screen interfaces and their societal implications, Ríos explores the concept of ‘liquid spaces’, where boundaries blur and definitions remain elusive, reflecting perpetual change. Set within the Latin American context, the artworks address themes such as extractivism, surveillance, and technocapitalism. The exhibition features a diverse range of artworks, including painting and virtual reality, through which the relationship between the body and the screen is discussed, while highlighting audience engagement and interaction as integral components of the viewing experience. Drawing from her previous curatorial endeavors, in an interview with Annet Dekker, Ríos reflects on the transformative influence of screens on perceptions and realities, suggesting that screens serve as modern oracles and their users as potential shamans navigating the digital landscape.
the look for sit down
Bailleul, Nicolas (2024) , S. 366-368
Meeting/Eating Meat Joy
Lavalette, Chloé (2024) , S. 362-365
Navigating new horizons: Openness, blogs, and media studies
Diecke, Josephine; Matuszkiewicz, Kai (2024) , S. 33-50
The transformation of established academic publishing systems is reshaping the landscape of media studies and emerging publication formats are challenging traditional habits. This article examines open access publication practices through the prism of the Open Media Studies Blog (OMS Blog). With a praxeological lens, the study delves into the sociotechnical dimensions of this shifting media studies publication environment. Central to our inquiry is the concept of ‘lived’ open science. Our open science philosophy guides content curation, format selection, and engagement strategies, shaping the very essence of our scholarly endeavors. By placing our own editorial practices under the microscope, we engage in a form of self-reflection that elucidates the challenges and triumphs of embracing openness. We probe the boundaries of openness, recognising the intricate interplay of financial, technical, social, political, and strategic factors that shape our scholarly endeavors. This study also examines the evolving roles of authors, editors, publishers, and readers in response to evolving scholarly demands. We question whether we are prepared, supported, and empowered to challenge prevailing structures that uphold inequality.
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.
Open Scholarship: A Portfolio on Funding, Globalising and Enhancing
Pooley, Jefferson; Hoyt, Eric; Conway, Kelley (2024) , S. 13-32
#Open: An Introduction
Lameris, Bregt; de Rosa, Miriam; Pastor-González, Victoria; Sondervan, Jeroen (2024) , S. 4-12
Open science represents a paradigm shift in research, aiming for accessibility, inclusivi- ty, and sustainability. Articles in this special section #Open examine a wide range of projects, practices, and research approaches that embrace these principles in multiple ways. Some delve into open practices in publishing and how they challenge traditional academic structures; others explore how digital platforms have the potential to both enable and curb the progress of open science. Several focus on the more or less implicit impact of researchers in the wider community through open education, public en- gagement, and citizen science. The selected contributions not only provide insight on the challenges and opportunities of openness in media studies, but also gather a dia- mond open collection of articles and essays, with no financial burden for readers as well as authors. In this sense, this issue concretely puts into practice the ethos that it embraces, and acts as a call to action for the larger academic community to engage in collective efforts towards sustainable open scholarship practices and models.

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