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Intra-Actions with Educational Media at the National Film Board of Canada, 1960-2016
Making Waves: Intra-actions with Educational Media at the National Film Board of Canada, 1960-2016 CAROLYN STEELE A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PRODRAM IN COMMUNICATION AND CULTURE APRIL 2017 YORK UNIVERSITY TORONTO, ONTARIO © Carolyn Steele 2017 ABSTRACT This dissertation aims to excavate the narrative of educational programming at the National Film Board of Canada (NFB) from 1960 to 2016. The producers and creative staff of Studio G – the epicentre of educational programming at the NFB for over thirty years – produced extraordinarily diverse and innovative multimedia for the classroom. ‘Multimedia’ is here understood as any media form that was not film, including filmstrips, slides, overhead projecturals, laserdiscs and CDs. To date, there have been no attempts to document the history of educational programming at the NFB generally, nor to situate the history of Studio G within that tradition. Over the course of five years, I have interviewed thirty-four NFB technicians, administrators, producers and directors in the service of creating a unique collective narrative tracing the development of educational media and programming at the NFB over the past fifty- six years and began to piece together an archive of work that has largely been forgotten. Throughout this dissertation, I argue that the forms of media engagement pioneered by Studio G and its descendants fostered a desire for, and eventually an expectation for specific media affordances, namely the ability to sequence or navigate media content, to pace one’s progress through media, to access media on demand and to modify media content. -
Interactive Project Proposals: the Early Stages
Working With the NFB’s Digital Studio June 2015 Working With the NFB’s Digital Studio As a unique creative and cultural laboratory, The NFB is eager to explore what it means to “create” and “connect” with Canadians in the age of technology. We are looking to work with a wide range of Canadian artists and media-makers interested in experimenting with the creative application of platforms and technology to story and form. Filmmakers, Interactive Designers, Photographers, Social Media Producers, Graphic Artists, Information Architects, Writers, Video and Sound Artists, Musicians, etc. We are excited by the collaborative nature of media today and are open to receiving project proposals from all types of artists and creators. What Kinds of Creations? As a public producer we have a duty to contribute to the ongoing social discourse of the day through the production of creative audiovisual works. We remain convinced of the powerful and transformative effects of art and imagination for the public good. We have a strong code of ethics that guides our work including the importance of an artistic voice and a diversity of voices, authenticity and creative excellence, innovation and risk taking, social relevance and the promotion of a civic, inclusive democratic culture. Our approach to story is innovative, open-ended, and participatory. We strive to create groundbreaking works that harness the appropriate technologies for each story and/or audience group, and contain built-in channels that open the project up for direct engagement. We are currently looking to produce new works that help us achieve our mission including interactive documentaries, mobile and locative media, interactive animations, photographic art and essays, data visualizations, physical installations, community media, interactive video, user- generated media, etc. -
Immersion in Interactive Documentaries: a Game-Studies-Driven Approach in a Case Study of Bear 71
IMMERSION IN INTERACTIVE DOCUMENTARIES: A GAME-STUDIES-DRIVEN APPROACH IN A CASE STUDY OF BEAR 71 Simo Hakalisto University of Tampere Faculty of Communication Sciences (COMS) Master’s Degree Programme in Internet and Game Studies Master’s Thesis December 2017 UNIVERSITY OF TAMPERE, Faculty of Communication Sciences (COMS) Master’s Degree Programme in Internet and Game Studies HAKALISTO, SIMO: Immersion in Interactive Documentaries: A Game-Studies-Driven Approach in a Case Study of Bear 71 Master’s thesis, 78 pages, 7 pages of appendices December 2017 Interactive documentaries can engage and involve their users in ways differing from traditional narrative-affective viewing experience of a documentary film. Interactive platforms can encourage for example more participative, kinaesthetic, playful and social interaction. However, interactive documentaries have in some degree failed to find and engage their users. Consequently, understanding the variety of users’ experiences with interactive documentaries has become increasingly important. The purpose of this thesis is to provide understanding of the variety of user engagement and immersion in interactive documentaries through a case study of NFB’s web-based interactive documentary Bear 71. Since interactive documentaries and games share increasingly similar characteristics, a game immersion studies framework, Calleja’s Player Involvement Model, is applied in the study. Immersion and the means to engage with documentary artefact are closely related to textual interpretation and meaning- making. Thus, the study combines methodologies from interactive documentary reception studies and game immersion studies to create methodological triangulation suitable for understanding different aspects of immersive interactive documentary experience. Two main modes of immersion were found in the case study, i.e. -
Annual Report
ANNUAL REPORT 2014–2015 © 2016 National Film Board of Canada Published by Strategic Planning and Government Relations P.O. Box 6100, Station Centre-ville Montreal, Quebec H3C 3H5 Internet : onf-nfb.gc.ca E-mail: [email protected] Cover page: MCLAREN MUR À MUR (McLaren Wall-to-Wall), Quartier des spectacles | NFB, Montreal ISBN 0-7722-1276-7 1st Quarter 2016 Printed in Canada TABLE OF CONTENTS IN NUMBERS GOVERNMENT FILM COMMISSIONER’S MESSAGE FOREWORD HIGHLIGHTS AWARDS GOVERNANCE MANAGEMENT SUMMARY OF ACTIVITIES FINANCIAL STATEMENTS Annex I: NFB ACROSS CANADA Annex II: PRODUCTIONS Annex III: INDEPENDENT FILM PROJECTS SUPPORTED BY ACIC AND FAP FRAME X FRAME: ANIMATED FILM AT THE NFB Exhibit at Musée de la civilisation, Quebec City Photo: Jessy Bernier, Perspective Photo, 0148_relv_0001 December 4, 2015 The Honourable Mélanie Joly Minister of Canadian Heritage Ottawa, Ontario Minister: I have the honour of submitting to you, in accordance with the provisions of sec- tion 20(1) of the National Film Act, the Annual Report of the National Film Board of Canada for the period ended March 31, 2015. The report also provides highlights of noteworthy events of this fiscal year. Yours respectfully, Claude Joli-Coeur Government Film Commissioner and Chairperson of the National Film Board of Canada IN NUMBERS CAMPUS, A POWERFUL TEACHING TOOL FOR THE 21ST-CENTURY CLASSROOM P.4 | 2014-2015 2014–2015 – IN NUMBERS 61 10 5 3 original NFB films interactive public applications and co-productions websites installations for tablets digital documents supporting -
History Will Make History on April 22, 2014. Produced by the National
Produced by the National Film Board of Canada Created by Stan Douglas and the NFB Digital Studio Vancouver PRESS KIT History will make history on April 22, 2014. nfb.ca/circa1948 CIRCA 1948: AN OVERVIEW device), they can move at will through the world they encounter. Surrounded by the sights and sounds of 1948, they come across highlighted objects that “ask” to be tapped. By doing so, the user initiates scenes of dialogue—31 in the hotel and 14 in the alley. For instance, they may encounter the film noir-like story of Betty, a mysterious woman who has arrived in town in search of a man who once knew her husband, or the fevered ranting of an injured war vet. And they may pick up on the rumour of corrupt police chief Mulligan and his planned crackdown on the local gambling establishments, or overhear a touching scene between gambler History Will Not Be Silent Buddy White and his partner in business and life, In the age of interactive storytelling, there is no longer Madame Mae Lu. Radios blast jazz from every corner, one single narrative component, but rather a vast array bets are made, tea is poured, and deals are sealed with of related strands and pieces, all of them serving to a handshake. expand a story in different ways and contributing to the While speaking, the myriad characters take the form creation of a storyworld. of subtle, ghost-like, glowing flares. When the scene Circa 1948 incorporates interrelated narratives, finishes, the flares diminish and the user knows it’s time platforms, stories, and interpretations capable of to continue on. -
Speakers Biographies
THE SPEAKERS Jason Scott / Speaker Internet Archive Jason Scott is the director of BBS: The Documentary (2005), Get Lamp (2010), and DEFCON: The Documentary (2013), three tech culture-oriented documentaries. He is currently filming Arcade and The 6502, which are in the same vein. He is also an archivist and historian at Internet Archive. After working in the video game industry, in 1998 he started textfiles.com, which has been host to millions of visitors and is used frequently as a historical reference and lazy-day pastime. The site’s original mission was to make available the thousands of BBS textfiles he’d collected in his youth. Consisting of over a terabyte of data, the site has expanded greatly in all directions of computer history. Christiane Paul / Speaker Whitney Museum of American Art / The New School Curator of Digital Art at the Whitney Museum of American Art. She is the recipient of the Thoma Foundation’s 2016 Arts Writing Award in Digital Art, and her recent books are A Companion to Digital Art (Blackwell-Wiley, May 2016); Digital Art (Thames and Hudson, 3rd revised edition, 2015); Context Providers – Conditions of Meaning in Media Arts (Intellect, 2011; Chinese edition, 2012); and New Media in the White Cube and Beyond (UC Press, 2008). At the Whitney Museum, she curated exhibitions including Cory Arcangel: Pro Tools (2011) and Profiling (2007), and is responsible for artport, the museum’s portal to Internet art. Other curatorial work includes Little Sister (is watching you, too) (Pratt Manhattan Gallery, NYC, 2015); What Lies Beneath (Borusan Contemporary, Istanbul, 2015); and The Public Private (Kellen Gallery, The New School, NYC, 2013). -
News Release. Tiff Serves up a Sizzling Summer Slate Of
May 18, 2016 .NEWS RELEASE. TIFF SERVES UP A SIZZLING SUMMER SLATE OF CINEMATIC TREATS Highlights include retrospectives dedicated to the masters: Hitchcock, Truffaut, De Palma and Rohmer; the 30th anniversary reissue of Blue Velvet; Mya Taylor in person for Pride Month; a spotlight on Syrian cinema; and a three-part virtual reality installation TORONTO — TIFF’s hot summer lineup invites filmgoers to spend a breezy afternoon or a night out at the cinema catching major filmmaker retrospectives, screenings of cult classics, intimate conversations with special guests, innovative installations and captivating new releases. TIFF® welcomes internationally renowned special guests to enrich the movie-going experience by providing audiences with unique access to thought-provoking conversations and fascinating behind-the-scenes stories. Highlights this season include Med Hondo, one of the founding fathers of modern African cinema, in town for a tribute to his filmmaking; Italian-born, Texas-based filmmaker Roberto Minervini for a retrospective of his four features to date; exiled Syrian filmmaker Ossama Mohammed for a timely spotlight on Syrian cinema; acclaimed critic, filmmaker, and New York Film Festival director Kent Jones will introduce select screenings in a double retrospective of the Master of Suspense Alfred Hitchcock and his great French admirer François Truffaut; and Chief Executive of Film London and the British Film Commission Adrian Wootton will explore Shakespeare’s impact on British film and Hollywood, Laurence Olivier and world cinema, as TIFF celebrates the rich legacy of Shakespeare’s works on screen during global commemorations of the 400th anniversary of the Bard’s death. Two additional TIFF Cinematheque retrospectives round out the season; one dedicated to the master of the macabre Brian De Palma, and another to French New Wave trailblazer Eric Rohmer. -
Thesis and Dissertation Template
INTERACTIVE AUDIENCES: viewers\users' engagement in National Film Board of Canada's interactive documentaries Patrícia Nogueira da Silva Doctoral Program in Digital Media Audiovisual and Interactive Content Creation Advisor: João Mário Grilo, Full Professor Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa Porto, 2018 INTERACTIVE AUDIENCES: viewers\users' engagement in National Film Board of Canada's interactive documentaries _______________________ A Dissertation Presented to The Faculty of Engeneering Department of Informatics University of Porto Porto, Portugal ______________________ In Partial Fulfillment of the Requirements for the Doctoral Degree in Digital Media _______________________ by Patrícia Nogueira da Silva July 2018 Patrícia Nogueira Keywords: interactive documentary; National Film Board of Canada, participative audience; phenomenology; psichoanalysis. COMMITTEE MEMBERS Committee Chair: Eugénio da Costa Oliveira, Ph.D. Full Professor of the Faculty of Engeneering University of Porto Committee Member: Nuno Robalo Correia, Ph.D. Full Professor of the Faculty of Science and Technology New University of Lisbon Committee Member: João Mário Grilo, Ph.D. (supervisor) Full Professor of the Faculty of Social Sciences and Humanities New University of Lisbon Committee Member: Nelson Troca Zagalo, Ph.D. Associate Professor of the Department of Communication and Arts University of Aveiro Committee Member: Mariana Estela Graça, Ph.D. Associate Professor of the Department of Communication, Arts and Design University of Algarve Committee Member: Rui Penha, Ph.D. Invited Assistant Professor of the Faculty of Engeneering University of Porto iii ABSTRACT This thesis explores the audience’s engagement and perceptual experience of interacting with interactive documentaries. The aim is contributing to a discussion about how interactivity and new technologies promote new spectatorship performances and subsequently affect the spectator’s subjectivity.