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

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

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

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

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

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

Edmilson Forte Miranda Júnior

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

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

Alexandra Cruchinho, Catarina Rito, Luís Sanchez

Art and fashion in costume Design for Film

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

Keyla Andrea Santiago Oliveira, Talita Carla Farina

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

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

Ahmad Khoshniat

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

DOI: 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

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

Carolina Duarte Gonçalves Ramos, Miriam de Oliveira Gonçalves

Cinema narratives through walking in urban landscapes

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

Derya Yıldız

Cinematic Experience as Spatial Perception: Remembering the Remembrance

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

Marc Boumeester

Cinematic Perception and the Image by Proxy

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

Diego Alejandro Rodriguez Piña

Creative Heroes in the shadow of the comic industry

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

Maroua Médini

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

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

Lucía Pérez García

Drama or Comedy? Music for a Disaster Artist

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

Matheus Moreno dos Santos Camargo, Andreia Machado Oliveira

EFEMERA Image - FullDome AudioVisual Exhibition

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

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

Experimental cinema and media ecology: Approaches and extensions

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

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)

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

Veronika Kleve, Paulo Bernardino Bastos

I´m Not Here: dialogues with Agnés Varda

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

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.

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

Paula Barata Dias

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

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

Saleh Ghorbanian

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

DOI: 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.

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

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)

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

Edward Slopek

Shutter/Shudder to Think: Cinema after Cage

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

Ricardo Tsutomu Matsuzawa, Eduardo Vicente

Songs in Arabia: Listening to Your Heart

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

Rodrigo Coelho Pierre Lira

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

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

Abbas MOHAMMADI

The aesthetics of light in Afghan Cinema

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

Walmir Barguil Pavam

The language of maturation in Deslembro, by Flávia Castro

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

Nicoleta Călina, Cristiana Călina

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

DOI: 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

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

Gisele Filippetto

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

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

André Araújo, Graça Magalhães, Pedro Bessa

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

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

Andrew Vallance

DOI: 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

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

Marcus Vinicius Azevedo de Mesquita, Edileuza Penha de Souza

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

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

José Duarte

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

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

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

Edileuza Penha de Souza

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

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

Deirdre O’Toole, Tobias Frühmorgen, Érica Faleiro Rodrigues

Collaborative International Student Filmmaking – Establishing Joint Filmmaking Practices within FilmEU

DOI: 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

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

Katrin Pieper

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

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

Claudia Adrianzen Lapouble

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

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

Jose Francisco Serafim, Regina Gloria Andrade , Natalia Ramos

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

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

Yorgos Drosos , Stella Klimatsaki

Flesh and Blood: Generic Monstrosities in Contemporary Greek Film

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

Roberta Veiga

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

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

Giulianna Nogueira Ronna, Cristiane Freitas Gutfreind

Images to come: political reinscription in contemporary Brazilian documentary.

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

André Francisco

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

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

Beatriz Alcici

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

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

Pâmela Eurídice da Silva Beleza Baltazar, Selda Vale da Costa

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

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

Lina Cirino, Angelita Bogado

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

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

Karine Chevalier

Reframing violence in Corsica : cinema as mask and mirror

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

Julio Vallejo Herán

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

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

Cassia Cassitas

The construction of the feminine in the audiovisual The hours

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

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

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

Ariani dos Santos Fontes

“The Lady from Shanghai”: Investigations about Film Noir

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

Liliana Rosa

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

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

Marcela Negro, Javier Olarte

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

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

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

Visual Effects and Software: The New Generation Cinema

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

Chapter III _ Cinema - Communication

Cristian Avello Cancino

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

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

Francisca Tinoco

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

DOI: 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

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

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

Black Animation Cinema and Afro-centered educational processes

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

Pâmela Peregrino , Edileuza Penha de Souza

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

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

Filomena Antunes Sobral

Challenges to television in the twenty-first century

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

Marcello Zeppi, Federica Dellepiane

Cinema and communication in the Montecatini Community

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

Sílvia R. B. Pinto

Communication made from a shadow animation

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

Jorge Calvo Martín, Francisco García García

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

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

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

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

Kristian Feigelson

Images industry in East Asia : beyond the borders

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

Marcella Suarez Di Santo, Matheus dos Santos Silva

Mathematics Education at Cinema

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

José Estevão Favaro, Carolina Riguera Locoselli

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

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

Ludmyla Alencar Ferreira Galdino, Fabrícia Teixeira Borges

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

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

Miguel Neta, Pedro Félix, Teresa Carvalho

New perspectives for an interdisciplinary approach to cinema at school.

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

Rosa Schrott, Marcela Negro

On the teaching and learning of audiovisual writing

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

David Wall

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

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

Carlos Mauricio Gómez

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

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

Pedro Alves da Veiga

The Cinematic Selfie: Questioning the Self through Generative Art

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

José Antonio Martinuzzo

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

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

Marcos De Bona de Carvalho

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

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

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)

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

Verônica Valério Santos

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

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

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

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

Gregorio Albuquerque

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

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

Chapter IV _ Cinema - Technology

Manuel Siabato

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

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

Filipe Pires, Rui Silva, Rui Raposo

A Survey on Virtual Production and the Future of Compositing Technologies

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

Luiz Philipe Fassarella Pereira, Rodrigo Octavio D’ Azevedo Carreiro

Cinema, reality and technology in convergence

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

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

Cinematographic ecosystem of the city and transfer with new technologies.

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

João Ventura, Vítor Quelhas

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

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

Sheila García-Muñoz Vizcaíno

Creative subtitling as an accessibility tool for children with hearing impairment

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

Luiza Moreira Heinzelmann, Mônica Stein

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

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

Lilian Cristina Monteiro França

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

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

Maria Valentina Fandiño

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

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

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

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

Fabiane Urquhart Duarte , Andreia Machado Oliveira

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

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

María del Mar Ogea Pozo

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

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

Cecilia Salles, Samir Cheida

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

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

Eduardo Nespoli

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

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

Büşra Kara

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

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

Chapter V _ Guests

José da Silva Ribeiro

Cinema at school and beyond school

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

Marcelo Tannure, Gustavo Rodrigues Corrêa, João Victor Boechat Gomide

Comparing different types of rendering strategies in an animated short film

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

Narce Dalia Ruiz Guzmán

Ecological Cinema with best practices and reducing environmental impact

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

Regis Frota Araújo

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

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

Anabela Branco de Oliveira, Felipe Muanis

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

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

Patrícia Dourado , Mirian Tavares

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

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

Chapter VI _ 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

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