ISSUE 2 - 2019 (1)
The Haunting of The Headless Woman
Catherine Grant, Professor of Digital Media and Screen Studies Birkbeck, University of London – 05:12
The character of Verónica, played by María Onetto in Lucrecia Martel’s film La mujer sin cabeza (2008, Argentina/France/Italy/Spain, known in Spain as La mujer rubia), is an iconic, if somewhat opaque protagonist. She can’t help but recall, for a cinephile viewer at least, a number of other striking, and often doomed, cinematic blondes who travel in cars. But Vero has an even more uncannily similar cinematic sister, her queer kin par excellence: Mary Henry, protagonist of Herk Harvey’s 1962 cult independent horror film Carnival of Souls. This essay focuses on this conscious but profound act of intertextuality by exploring in detail the plane of meanings potentially lent to La mujer sin cabeza by its careful and highly subtle practices of allusion to the 1962 film, ones not solely based on similarity but also on divergence and variation.
Alfonso Villanueva García, Máster Universitario en Cine y Televisión, Universidad Carlos III de Madrid, Loreto García Saiz, Máster en Investigación Aplicada a los Medios de Comunicación, Universidad Carlos III de Madrid – 07:08
This videoessay is the result of an exercise for the Master’s Degree in Film and Television (UC3M), through which the authors have been able to establish an audiovisual correspondence, an approach to concepts such as family or death. Through this dialogue the authors understand the difference between communication and correspondence, open a space for conversation outside the acceleration and the most contemporary immediacy, experiment with the other through the medium and reflect on the medium through the other.
The National Auteur “Goes World”: Claudia Llosa and the Critical Responses to Aloft/No llores,vuela
Jeffrey Middents, American University – 10:31
Set in upper British Columbia and Nunavut, Claudia Llosa’s Aloft (2014) follows two connected moments within a family’s storyline. In this videoessay two strains of criticism are considered – the English vs. the Spanish – against one another as both explore Claudia Llosa as a Peruvian, as an auteur and as both those concepts at once.
New Ways of Communicating Science: The Audiovisual Scientific Essay Experience
Benedito Diélcio Moreira, Pedro Pinto de Oliveira, Professors and Associate Researchers in the Post-Graduate Program in Contemporary Culture Studies at the Federal University of Mato Grosso, Brazil – 15:01
Every kind of images, from selfies to artistic ones, from those made for film to those made for journalism, as well as those technically constituted by algorithms, circulate in abundance in the digital universe. This essay argues that audiovisual scientific communication is self-sufficient, and an important part of the scientific work, broadening the dialogue with peers and bringing the population closer to science and the scientists, especially because scientific audiovisual practices can and should take up a decisive role in schools and the democratization of scientific knowledge.
The Cinematic Tool of 3D: the Case of Gravity (Alfonso Cuarón, 2014)
Nicole Konforti, B.S. Computer Science (Columbia University), Nazli Yurdakul, B.A. Computer Science (Columbia University) – 06:20
This is a piece about the film Gravity (Alfonso Cuarón, 2013) and its place as one of, if not the most successful and groundbreaking use of 3D in cinema. The work follows a chronological approach, starting with the history of 3D and its usage throughout the years. After explaining the economic issues faced by the industry and how they contributed to the rise of the number of 3D movies produced, the focus turns to Gravity to analyze the differences between this film and the typical 3D movies produced in the 2000s.