ISSUE 2 - 2019 (1)

With immense pleasure, we are delighted to publish issue 2 of Tecmerin: Journal of Audiovisual Essays. This time, we are offering five audiovisual essays from a variety of geographical territories—United Kingdom, Brazil, United States and Spain—produced by researchers at different stages of their academic careers—from undergraduate and graduate students to fully established scholars.

First, Catherine Grant presents “The Haunting of The Headless Woman”, a fascinating piece on cinematic interconnectedness and allusion between The Headless Woman (Lucrecia Martel, 2008) and Carnival of Souls (Herk Harvey, 1962). Next, in  “Correspondencias”, Alfonso Villanueva García and Loreto Saiz García exchange images and sounds as videographic epistolary correspondences, reflecting on the re-utilization of pre-existent images to express new meanings, articulated through reciprocity and emotional commitment. With “The National Auteur ‘Goes World’: Claudia Llosa and the Critical Responses to Aloft/No llores, vuela”, Jeffrey Middents explores the critical reception of the film No llores, vuela (Claudia Llosa, 2014) in the Spanish and English-speaking worlds in order to analyze Llosa’s status as auteur in the international film markets. In their work, “New ways of Communicating Science: The Audiovisual Scientific Essay Experience” Benedito Dielcio Moreira and Pedro Pinto de Olivera argue that audiovisual knowledge is self-sufficient and must play a central role in the democratization of the scientific space and teaching methodologies. Finally in “The Cinematic Tool of 3D” Nicole Konforti and Nazli Yurdakul offer an intelligent and playful study on the importance of Alfonso Cuarón’s Gravity (2013) in the history of cinematic 3D. 

The wide variety of topics, resources, techniques and perspectives that characterizes these five works signals the constant transformations within a growing arena—the audiovisual essay—that is rapidly becoming central for a variety of research and teaching fields. At this historical juncture, we believe that it is increasingly relevant for scholars to stay in tune with the current era, a time in which the videographic format has turned essential in the understanding of the world in which we live.

We hope you enjoy these audiovisual works. Surely, more will come in the future.

Editorial Committee,  Tecmerin. Journal of Audiovisual Essays



Tecmerin. Revista de Ensayos Audiovisuales
ISSN: 2659-4269
© Grupo de Investigación Tecmerin
Universidad Carlos III de Madrid

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.