No. 13 (2022): AVANCA | CINEMA 2022 | AVANCA | CINEMA

AVANCA | CINEMA 2022

AVANCA | CINEMA 2022

AVANCA | CINEMA 2022

No. 13 (2022)

Online Journal with 104 communications and printed book with 873 pages with a total of 107 communications (ISSN: 2184-0520) from various authors from different parts of the world, which reflect the International Conference AVANCA | CINEMA 2022 and gather scientific communications around the cinema.

Published October 30, 2022

https://doi.org/10.37390/avancacinema.2022

Editorial

Editorial | Table of Contents 2022

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Chapter I _ Cinema - Art

Helena Maria da Silva Santana, Maria do Rosário da Silva Santana

A Menina do Mar (The Sea’s Girl) by Sophia de Mello Breyner: how Fernando Lopes-Graça, Bernardo Sassetti, Filipe Raposo and Edward Luiz Ayres de Abreu built their own performative versions from this work

https://doi.org/10.37390/avancacinema.2022.a363

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Veruza de Morais Ferreira, Maria Helena Braga e Vaz da Costa

Aesthetic Symbolism and Hybridism in Jean-Luc Godard’s Goodbye to Language

https://doi.org/10.37390/avancacinema.2022.a364

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Edmilson Forte Miranda Júnior

African cinema and decolonial imaginary: about africanfuturism in the short film Afronauts

https://doi.org/10.37390/avancacinema.2022.a366

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Alexandra Cruchinho, Catarina Rito, Luís Sanchez

Art and fashion in costume Design for Film

https://doi.org/10.37390/avancacinema.2022.a367

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Keyla Andrea Santiago Oliveira, Talita Carla Farina

Ashes in the Pantanal (2021): socio-environmental and educational issues

https://doi.org/10.37390/avancacinema.2022.a368

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Ahmad Khoshniat

Bertolt Brecht’s Soul in the Body of Experimental Animation: Common Audiovisual Strategies between Epic Theatre and Robert Breer’s Short Animations

https://doi.org/10.37390/avancacinema.2022.a369

Isabelle Ingrid Freitas Rodrigues

BETWEEN THE PERFORMATIVE AND THE CAPTURED ON THE SCENE: creative processes and innovations in the creation of videodance and play Donna

https://doi.org/10.37390/avancacinema.2022.a370

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Carolina Duarte Gonçalves Ramos, Miriam de Oliveira Gonçalves

Cinema narratives through walking in urban landscapes

https://doi.org/10.37390/avancacinema.2022.a371

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Derya Yıldız

Cinematic Experience as Spatial Perception: Remembering the Remembrance

https://doi.org/10.37390/avancacinema.2022.a372

Marc Boumeester

Cinematic Perception and the Image by Proxy

https://doi.org/10.37390/avancacinema.2022.a373

Diego Alejandro Rodriguez Piña

Creative Heroes in the shadow of the comic industry

https://doi.org/10.37390/avancacinema.2022.a374

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Maroua Médini

Crisis and literary adaptation: the case of the movie (The necklace and the bracelet 1986) of the Egyptian filmmaker Khairy Beshara

https://doi.org/10.37390/avancacinema.2022.a375

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Lucía Pérez García

Drama or Comedy? Music for a Disaster Artist

https://doi.org/10.37390/avancacinema.2022.a376

Matheus Moreno dos Santos Camargo, Andreia Machado Oliveira

EFEMERA Image - FullDome AudioVisual Exhibition

https://doi.org/10.37390/avancacinema.2022.a377

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Wilson Oliveira da Silva Filho, Mariana Lucas de Almeida Fernandes, Argeu Luiz Duarte Glória, Francisco Malta

Experimental cinema and media ecology: Approaches and extensions

https://doi.org/10.37390/avancacinema.2022.a378

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Laura Brandão do Brasil, Eduarda Pereira de Paula, Mariana Cordeiro de Souza, Lucia Maria Pereira Bravo

From the verses to the stages and from the stages to the screens: The Intertextuality process in the film “O Auto da Compadecida” (2000)

https://doi.org/10.37390/avancacinema.2022.a379

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Veronika Kleve, Paulo Bernardino Bastos

I´m Not Here: dialogues with Agnés Varda

https://doi.org/10.37390/avancacinema.2022.a380

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Dulce María Núñez Oseguera, Dulce María Núñez Oseguera

Listening to Otherness in Pedro Páramo (1967) by Carlos Velo. The self existence from the desires and memories of other.

https://doi.org/10.37390/avancacinema.2022.a381

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Paula Barata Dias

Lupinus Homo – Classical Mythology reshaping intergenerational and gender conflict in The Power of the Dog by Jane Campion (2021)

https://doi.org/10.37390/avancacinema.2022.a382

Saleh Ghorbanian

Painting in Time: The Role of Painting in Andrei Tarkovsky’s Solaris

https://doi.org/10.37390/avancacinema.2022.a383

Sónia Carvalho, Paulo Bernardino Bastos

Performative body and psyche. Approaches to transdisciplinary research methods: transpersonal psychology and ritual-performance.

https://doi.org/10.37390/avancacinema.2022.a384

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José Alejandro López Pérez

Projections of the Absent: A Critique to the Artistic Ways of Displaying the Forced Disappearance (An Analysis of Geometry of the Conscience by Alfredo Jaar)

https://doi.org/10.37390/avancacinema.2022.a385

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Edward Slopek

Shutter/Shudder to Think: Cinema after Cage

https://doi.org/10.37390/avancacinema.2022.a386

Ricardo Tsutomu Matsuzawa, Eduardo Vicente

Songs in Arabia: Listening to Your Heart

https://doi.org/10.37390/avancacinema.2022.a387

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Rodrigo Coelho Pierre Lira

Surviving Images: an analysis of Edipo Re (1967), by Pier Paolo Pasolini

https://doi.org/10.37390/avancacinema.2022.a388

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Abbas MOHAMMADI

The aesthetics of light in Afghan Cinema

https://doi.org/10.37390/avancacinema.2022.a389

Walmir Barguil Pavam

The language of maturation in Deslembro, by Flávia Castro

https://doi.org/10.37390/avancacinema.2022.a390

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Nicoleta Călina, Cristiana Călina

The long life of Carlo Collodi’s puppet between literature and cinema. Pinocchio: short excursus through screen adaptations and performances

https://doi.org/10.37390/avancacinema.2022.a391

Leonardo Augusto de Jesus

The movement-image under visual palimpsests in the samba schools of Rio de Janeiro

https://doi.org/10.37390/avancacinema.2022.a392

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Gisele Filippetto

The Role of Music in the Documentary “Miles Davis: Birth of the Cool”

https://doi.org/10.37390/avancacinema.2022.a393

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André Araújo, Graça Magalhães, Pedro Bessa

The symbolic foundations of the mining archive: sound and image as vehicles of memory

https://doi.org/10.37390/avancacinema.2022.a394

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Andrew Vallance

Work of Memory

https://doi.org/10.37390/avancacinema.2022.a395

Chapter II _ Cinema - Cinema

Natália Queiroz de Oliveira Souto

Alterity, Dialogism and Polyphony through the film Encanto

https://doi.org/10.37390/avancacinema.2022.a396

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Marcus Vinicius Azevedo de Mesquita, Edileuza Penha de Souza

Ancestry and identity in Negrum3 - A black pedagogy about gender and sexuality

https://doi.org/10.37390/avancacinema.2022.a397

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José Duarte

Belonging

https://doi.org/10.37390/avancacinema.2022.a398

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Rosário Santana, Helena Maria da Silva Santana

Between fiction and reality: the particular case of the short film “Bugs and Daffy’s Carnival of the Animals by Camille Saint-Saëns” (1976) by Chuck Jones

https://doi.org/10.37390/avancacinema.2022.a399

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Edileuza Penha de Souza

Coffee with cinnamon and the edification of affection in Black Female Cinema

https://doi.org/10.37390/avancacinema.2022.a400

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Deirdre O’Toole, Tobias Frühmorgen, Érica Faleiro Rodrigues

Collaborative International Student Filmmaking – Establishing Joint Filmmaking Practices within FilmEU

https://doi.org/10.37390/avancacinema.2022.a401

Patrícia Cardoso D’Abreu, João Ximenes Braga

Communicational biography and the usurpation of authorship in Brazilian television: a case study on Gilberto Braga’s last telenovela Babilônia

https://doi.org/10.37390/avancacinema.2022.a402

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Katrin Pieper

Cut films and manipulated subtitles: The censorship of foreign films during the Estado Novo

https://doi.org/10.37390/avancacinema.2022.a403

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Claudia Adrianzen Lapouble

Expatriate filmmakers, (trans)national films? : the case of two latin-américan filmamkers in Europe

https://doi.org/10.37390/avancacinema.2022.a404

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Jose Francisco Serafim, Regina Gloria Andrade , Natalia Ramos

Fictions of the Real in Documentary The Cambridge Squatter - Eliana Caffé (2016)

https://doi.org/10.37390/avancacinema.2022.a405

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Yorgos Drosos , Stella Klimatsaki

Flesh and Blood: Generic Monstrosities in Contemporary Greek Film

https://doi.org/10.37390/avancacinema.2022.a406

Roberta Veiga

Forms of Cinematic Insubordination to Motherhood Myths: method, research and inventory

https://doi.org/10.37390/avancacinema.2022.a407

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Giulianna Nogueira Ronna, Cristiane Freitas Gutfreind

Images to come: political reinscription in contemporary Brazilian documentary.

https://doi.org/10.37390/avancacinema.2022.a408

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André Francisco

“It’s hard to say whether that idea is really hers”: technology as an identity disruptor in Possessor (2020)

https://doi.org/10.37390/avancacinema.2022.a409

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Beatriz Alcici

Lost in Translation: Images of “deslugar/displace” in contemporary cinema

https://doi.org/10.37390/avancacinema.2022.a410

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Pâmela Eurídice da Silva Beleza Baltazar, Selda Vale da Costa

Perspectives: an excursion through the cinema made by women in the Amazon

https://doi.org/10.37390/avancacinema.2022.a411

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Lina Cirino, Angelita Bogado

Recôncavo da Bahia and the endless images: collective body, affection and future

https://doi.org/10.37390/avancacinema.2022.a412

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Karine Chevalier

Reframing violence in Corsica : cinema as mask and mirror

https://doi.org/10.37390/avancacinema.2022.a413

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Julio Vallejo Herán

The confusion between person and character in Cravan vs Cravan (Lacuesta, 2002)

https://doi.org/10.37390/avancacinema.2022.a414

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Cassia Cassitas

The construction of the feminine in the audiovisual The hours

https://doi.org/10.37390/avancacinema.2022.a415

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Angélica Marques Coutinho

The experience of inclusion: the first selection process for feature film with quotas of gender and race of the Brazilian National Film Agenc

https://doi.org/10.37390/avancacinema.2022.a416

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Ariani dos Santos Fontes

“The Lady from Shanghai”: Investigations about Film Noir

https://doi.org/10.37390/avancacinema.2022.a417

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Liliana Rosa

The limits of the representation of violence in Benny’s Video (1992) and Funny Games (1997), directed by Michael Haneke

https://doi.org/10.37390/avancacinema.2022.a418

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Marcela Negro, Javier Olarte

The montage cinema and the narrative structure, strengths for the story progression.

https://doi.org/10.37390/avancacinema.2022.a419

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Francisco Malta, Fernanda Ribeiro, Renan Oliveira, Stella Nemer, Wilson Oliveira

Visual Effects and Software: The New Generation Cinema

https://doi.org/10.37390/avancacinema.2022.a420

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Chapter III _ Cinema - Communication

Cristian Avello Cancino

A camera-arrow; mobilizations, cosmopolitics and ways of occupy the cinema

https://doi.org/10.37390/avancacinema.2022.a421

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Francisca Tinoco

A Very Queer Riddle: Breaking Down Hollywood’s Queerbaiting Problem

https://doi.org/10.37390/avancacinema.2022.a422

Gabriela Santos Alves, Karolyne Mendes Gomes, Rosane Vasconcelos Zanotti

Belonging to and (surviving) cities: analysis on Chega de Fiu Fiu (2018), documentary by Amanda Kamanchek and Fernanda Frazão

https://doi.org/10.37390/avancacinema.2022.a423

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Pâmela Peregrino da Cruz, Erlane Rosa dos Santos, Filip de Souza Couto, Jhonatan Almeida de Sousa

Black Animation Cinema and Afro-centered educational processes

https://doi.org/10.37390/avancacinema.2022.a424

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Pâmela Peregrino , Edileuza Penha de Souza

Black Animation Cinema and the Enchantment of the short film “Ewé de Òsanyin: the secret of the leaves”

https://doi.org/10.37390/avancacinema.2022.a425

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Filomena Antunes Sobral

Challenges to television in the twenty-first century

https://doi.org/10.37390/avancacinema.2022.a426

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Marcello Zeppi, Federica Dellepiane

Cinema and communication in the Montecatini Community

https://doi.org/10.37390/avancacinema.2022.a427

Sílvia R. B. Pinto

Communication made from a shadow animation

https://doi.org/10.37390/avancacinema.2022.a428

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Jorge Calvo Martín, Francisco García García

Critical Success: The narrative weight of chance in TTRPG based shows (actual play)

https://doi.org/10.37390/avancacinema.2022.a429

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Arthur Felipe de Oliveira Fiel, Patrícia Cardoso D’ABREU

Experimental children’s animation in the fight against fake news about the coronavirus: the ludic as a strategy of truth

https://doi.org/10.37390/avancacinema.2022.a430

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Kristian Feigelson

Images industry in East Asia : beyond the borders

https://doi.org/10.37390/avancacinema.2022.a431

Marcella Suarez Di Santo, Matheus dos Santos Silva

Mathematics Education at Cinema

https://doi.org/10.37390/avancacinema.2022.a432

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José Estevão Favaro, Carolina Riguera Locoselli

Movie Theaters during the Covid Outbreak – Hopes and hopelessness in this medium and the brazilian target.

https://doi.org/10.37390/avancacinema.2022.a433

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Ludmyla Alencar Ferreira Galdino, Fabrícia Teixeira Borges

Nausicaä: the heroine who doesn’t follow the Hero’s Path

https://doi.org/10.37390/avancacinema.2022.a434

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Miguel Neta, Pedro Félix, Teresa Carvalho

New perspectives for an interdisciplinary approach to cinema at school.

https://doi.org/10.37390/avancacinema.2022.a435

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Rosa Schrott, Marcela Negro

On the teaching and learning of audiovisual writing

https://doi.org/10.37390/avancacinema.2022.a436

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David Wall

“Paging Dr. Freud!” Theorizing John Boorman’s Zardoz.

https://doi.org/10.37390/avancacinema.2022.a437

Carlos Mauricio Gómez

Society, segregation and freedom: The transformation of the female image in Iranian cinema

https://doi.org/10.37390/avancacinema.2022.a438

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Pedro Alves da Veiga

The Cinematic Selfie: Questioning the Self through Generative Art

https://doi.org/10.37390/avancacinema.2022.a439

José Antonio Martinuzzo

The Covid-19 pandemic and the constitution of a perverse audiovisuality

https://doi.org/10.37390/avancacinema.2022.a440

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Marcos De Bona de Carvalho

The edge of biographies: the trajectories of Petra Costa and Leni Riefenstahl

https://doi.org/10.37390/avancacinema.2022.a441

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Juliana Lopes da Silva, Edileuza Penha de Souza

The emergency remote teaching of audiovisual: report of an experience at the Federal Institute of Brasilia - Campus Recanto das Emas (DF / Brazil)

https://doi.org/10.37390/avancacinema.2022.a442

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Verônica Valério Santos

The Matrix and the Myth of the Hero: critical approaches to the contemporary school

https://doi.org/10.37390/avancacinema.2022.a443

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Laila Thaise Batista de Oliveira, Luciana Oliveira Vieira, Naira Évine Pereira Soares

The Quilombo-Space: Notes on Black Film Festivals and Exhibitions in Brazil’s Northeastern region

https://doi.org/10.37390/avancacinema.2022.a444

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Gregorio Albuquerque

Thinking through the image: audiovisual education from the cultural, political and pedagogical perspective

https://doi.org/10.37390/avancacinema.2022.a445

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Chapter IV _ Cinema - Technology

Manuel Siabato

360° cinéma montage versus immersive notion: Sam Esmail and the sensory experimentation in Mr. Robot series.

https://doi.org/10.37390/avancacinema.2022.a446

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Filipe Pires, Rui Silva, Rui Raposo

A Survey on Virtual Production and the Future of Compositing Technologies

https://doi.org/10.37390/avancacinema.2022.a447

Luiz Philipe Fassarella Pereira, Rodrigo Octavio D’ Azevedo Carreiro

Cinema, reality and technology in convergence

https://doi.org/10.37390/avancacinema.2022.a448

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Eusebio Alonso-García, Sara Pérez-Barreiro, Iván Rincón-Borrego

Cinematographic ecosystem of the city and transfer with new technologies.

https://doi.org/10.37390/avancacinema.2022.a449

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João Ventura, Vítor Quelhas

Contribution of visual communication in the symbiosis between space and technology: the Zora case

https://doi.org/10.37390/avancacinema.2022.a450

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Sheila García-Muñoz Vizcaíno

Creative subtitling as an accessibility tool for children with hearing impairment

https://doi.org/10.37390/avancacinema.2022.a451

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Luiza Moreira Heinzelmann, Mônica Stein

Development of a digital comic in vertical orientation with insertion of animations.

https://doi.org/10.37390/avancacinema.2022.a452

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Lilian Cristina Monteiro França

From Flash to Klynt: algorithmic standardization of webdocumentary´s narrative

https://doi.org/10.37390/avancacinema.2022.a453

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Maria Valentina Fandiño

From the maloca to the screen. Narrative connections between the oral tradition of Múrui-Muina amazonian community and interactive audiovisual content.

https://doi.org/10.37390/avancacinema.2022.a454

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Alexandre Catarino Oliveira Martins

Memories in motion: the creation of video Art through the anthropological archetype and the a/r/tographic and a/r/cographic models

https://doi.org/10.37390/avancacinema.2022.a455

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Fabiane Urquhart Duarte , Andreia Machado Oliveira

Poetics of Time: on the wear and tear and appropriation of photosensitive materials

https://doi.org/10.37390/avancacinema.2022.a456

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María del Mar Ogea Pozo

Raising awareness and teaching accessibility: a didactic experiment in the audiovisual translation classroom based on audio description

https://doi.org/10.37390/avancacinema.2022.a457

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Cecilia Salles, Samir Cheida

Transmedia montage: a reflection on the editing and the creation process of the series The Walking Dead

https://doi.org/10.37390/avancacinema.2022.a458

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Eduardo Nespoli

Vestígios: an archaeological exploration of signs and noises in an work of live cinema

https://doi.org/10.37390/avancacinema.2022.a459

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Büşra Kara

Woman and Home in 1980s Turkish Cinema: A Relational Reading Through Atıf Yılmaz’s Films

https://doi.org/10.37390/avancacinema.2022.a460

Chapter V _ Guests

José da Silva Ribeiro

Cinema at school and beyond school

https://doi.org/10.37390/avancacinema.2022.a461

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Marcelo Tannure, Gustavo Rodrigues Corrêa, João Victor Boechat Gomide

Comparing different types of rendering strategies in an animated short film

https://doi.org/10.37390/avancacinema.2022.a462

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Narce Dalia Ruiz Guzmán

Ecological Cinema with best practices and reducing environmental impact

https://doi.org/10.37390/avancacinema.2022.a463

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Regis Frota Araújo

Law and Psychoanalysis in Dostoevsky’s Book “The Brothers Karamazov”

https://doi.org/10.37390/avancacinema.2022.a464

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Anabela Branco de Oliveira, Felipe Muanis

State Funeral (Sergei Loznitsa, 2019): the documentary funeral

https://doi.org/10.37390/avancacinema.2022.a465

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Patrícia Dourado , Mirian Tavares

Writing and rewriting: screenwriting practices by Anna Muylaert in Second Mother

https://doi.org/10.37390/avancacinema.2022.a466

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Chapter VII _ CIAC

Mirian Tavares, Bruno Mendes da Silva, Jorge Carrega, Ana Isabel Soares, Patricia Dourado, Susana Costa, António Costa Valente

Film and Media Arts at CIAC

https://doi.org/10.37390/avancacinema.2022.a467

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