In its 11th edition the GEMInIS Journal brings a dossier concerning “Cinema and Technology”. The purpose of this issue is to focus on studies that considers cinema as an art within a broader knowledge, thinking its extensions and limits, what has changed and what has remained. Therefore, the aim is to do analysis of different production models, distribution and exhibition, and also support a debate about what can be understood as “cinema” and “film” among common notions like post-cinema, expanded cinema, and others.
In the era of the converging and pervasive media, the experience of the moving image has become a daily and diverse experience, but does this make cinema predestined to disappear or in fact it already disappeared thanks to new forms of circulation of the images? Thus, the question is not longer “what is the cinema?” but only “where is the cinema?” – exaltation of a territorial extension? What about the expression “expanded cinema”, already evidenced the expansion, how can we define and/or where to find the limit?
We know that the cinema no longer has the exclusivity of moving images, so does this make the digital revolution so important as the revolution provided by the cinema, which invented values and esthetics that will survive to the processes of media convergence? Within this parallel, like other ways of thinking, it is common to neglect a considerable distinction; when the first technologies of the moving image appeared, between 1890 and 1900, one had never seen something alike: images able to capture reality (instead of representing it like a painting), large images and that reproduce the movement. In other terms, would the last twenty years’ technical inventions have the same impact? Or the same consequence? In a way, did they bring so essential novelties in terms of sensation?
Nowadays, it is noticed a revival of “Méliès” cinema – a form of a spectacular cinema, a cinema of special effects, a cinema of the direct work on image, of the retouching, of the wider control with films made by manipulated images in the computer. In this post-cinema world, digital register is not taken as an untouchable enterprise, but as a codification on which it became pleasurable to work endlessly. What to think about the blockbuster and about the contemporary immersive narration?
Papers can be submitted until November 02, 2015 by email to the following address: email@example.com. The text can be written in Portuguese, Spanish or English. Article’s extension must be .DOC or similar Microsoft Word compatible files, and the text size must fit from 7 pages (around 2.500 words) to 25 pages (circa 11.300 words). The text structure, including its abstract, images and tables have to be adapted to the current ABNT publishing rules.
In addition to accepting papers related to the main theme, the journal also will receive academic articles that address other issues related to the communication and audiovisual fields; as well as essays, interviews and reviews of books recently published in Brazil and abroad.
The authors have to attach to the work an “authorization term for publishing”, signed by themselves in the following words. “I ___________ (complete name of the author), in the case of my paper being selected by the magazine editorial committee, authorize the publication of my article _____________ (title of the article), written by _______ (names of the authors) in the periodic“. This term should be sent in PDF or JPG formats.
About GEMInIS Journal: Exclusively online publication of biannual periodicity, linked to the Sound and Image Interactive Media Studies Group (GEMInIS hosted at the Federal University of São Carlos (UFSCar) as part of its Sound and Image Graduate Program (PPGIS). The journal aims to bring together scientific and artistic works that deal with the media convergence. The publication is classified as B2 – CAPES. ISSN: 2179-1465.
Editor-in-Chief: Prof. Dr. João Carlos Massarolo (UFSCar)
Prof. Dr. Eduardo Portanova Barros (UNISINOS)
Profa. Dra. Fernanda Aguiar C. Martins (UFRB)
Prof. Dr. André Gatti (FAAP)