“Live cinema” and the challenges in creating narratives for "real time" performances - a solution based on the “structure of the three acts”
Autor(a) principal: | |
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Data de Publicação: | 2021 |
Outros Autores: | |
Tipo de documento: | Artigo |
Idioma: | eng |
Título da fonte: | Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
Texto Completo: | http://hdl.handle.net/10400.1/20319 |
Resumo: | Currently, due to the advancement of digital technologies, artists are able to “play” music and video in “real time” — in audiovisual performances that can be described as: live cinema, veejaying, glim, etc. The live cinema genre can be explained as a cross between the tech niques of veejaying (mixing videoclips in real time) with the goal of cinema (telling stories through moving pictures). However, the act of mixing and improvising the video in “real time”, creates challenges for creating a coherent narrative. This is article is based on the performative experience of Moda Vestra —a collective of artists from the Algarve (Portugal)— and it is divided in three sections. The first traces a state of the art related to this phenomenon known as “live cinema” — relating it to other similar formats and concepts that have appeared throughout history: silent cinema, cineconcerts, visual music and veejaying. In this section, we briefly review two recent live cinema performances “Super Everything” by The Light Surgeons and “Everything Is Going According to Plan” by Adam Curtis with Massive Attack. The second section analyzes in detail the concept, morphology and work methodology of the collective Moda Vestra — which faced challenges when trying to create a coherent narrative for its real time performances. In the third section (conclusion), we propose a narrative structure that can be used in future “live cinema” shows. This “formula” is based on the “three act structure” for cinema, developed by authors like Syd Fleld |
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“Live cinema” and the challenges in creating narratives for "real time" performances - a solution based on the “structure of the three acts”Live CinemaReal TimeScript WritingPerformanceVeejayingCurrently, due to the advancement of digital technologies, artists are able to “play” music and video in “real time” — in audiovisual performances that can be described as: live cinema, veejaying, glim, etc. The live cinema genre can be explained as a cross between the tech niques of veejaying (mixing videoclips in real time) with the goal of cinema (telling stories through moving pictures). However, the act of mixing and improvising the video in “real time”, creates challenges for creating a coherent narrative. This is article is based on the performative experience of Moda Vestra —a collective of artists from the Algarve (Portugal)— and it is divided in three sections. The first traces a state of the art related to this phenomenon known as “live cinema” — relating it to other similar formats and concepts that have appeared throughout history: silent cinema, cineconcerts, visual music and veejaying. In this section, we briefly review two recent live cinema performances “Super Everything” by The Light Surgeons and “Everything Is Going According to Plan” by Adam Curtis with Massive Attack. The second section analyzes in detail the concept, morphology and work methodology of the collective Moda Vestra — which faced challenges when trying to create a coherent narrative for its real time performances. In the third section (conclusion), we propose a narrative structure that can be used in future “live cinema” shows. This “formula” is based on the “three act structure” for cinema, developed by authors like Syd FleldCIAC - Centro de Investigação em Artes e ComunicaçãoSapientiaPerfeito, Ana de Jesus CaeiroSilva, Bruno Mendes da2024-01-19T10:25:41Z20212021-01-01T00:00:00Zinfo:eu-repo/semantics/publishedVersioninfo:eu-repo/semantics/articleapplication/pdfhttp://hdl.handle.net/10400.1/20319eng10.34623/eyzn-0b152184-8661info:eu-repo/semantics/openAccessreponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos)instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãoinstacron:RCAAP2024-01-24T02:00:57Zoai:sapientia.ualg.pt:10400.1/20319Portal AgregadorONGhttps://www.rcaap.pt/oai/openaireopendoar:71602024-03-20T01:56:49.771313Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informaçãofalse |
dc.title.none.fl_str_mv |
“Live cinema” and the challenges in creating narratives for "real time" performances - a solution based on the “structure of the three acts” |
title |
“Live cinema” and the challenges in creating narratives for "real time" performances - a solution based on the “structure of the three acts” |
spellingShingle |
“Live cinema” and the challenges in creating narratives for "real time" performances - a solution based on the “structure of the three acts” Perfeito, Ana de Jesus Caeiro Live Cinema Real Time Script Writing Performance Veejaying |
title_short |
“Live cinema” and the challenges in creating narratives for "real time" performances - a solution based on the “structure of the three acts” |
title_full |
“Live cinema” and the challenges in creating narratives for "real time" performances - a solution based on the “structure of the three acts” |
title_fullStr |
“Live cinema” and the challenges in creating narratives for "real time" performances - a solution based on the “structure of the three acts” |
title_full_unstemmed |
“Live cinema” and the challenges in creating narratives for "real time" performances - a solution based on the “structure of the three acts” |
title_sort |
“Live cinema” and the challenges in creating narratives for "real time" performances - a solution based on the “structure of the three acts” |
author |
Perfeito, Ana de Jesus Caeiro |
author_facet |
Perfeito, Ana de Jesus Caeiro Silva, Bruno Mendes da |
author_role |
author |
author2 |
Silva, Bruno Mendes da |
author2_role |
author |
dc.contributor.none.fl_str_mv |
Sapientia |
dc.contributor.author.fl_str_mv |
Perfeito, Ana de Jesus Caeiro Silva, Bruno Mendes da |
dc.subject.por.fl_str_mv |
Live Cinema Real Time Script Writing Performance Veejaying |
topic |
Live Cinema Real Time Script Writing Performance Veejaying |
description |
Currently, due to the advancement of digital technologies, artists are able to “play” music and video in “real time” — in audiovisual performances that can be described as: live cinema, veejaying, glim, etc. The live cinema genre can be explained as a cross between the tech niques of veejaying (mixing videoclips in real time) with the goal of cinema (telling stories through moving pictures). However, the act of mixing and improvising the video in “real time”, creates challenges for creating a coherent narrative. This is article is based on the performative experience of Moda Vestra —a collective of artists from the Algarve (Portugal)— and it is divided in three sections. The first traces a state of the art related to this phenomenon known as “live cinema” — relating it to other similar formats and concepts that have appeared throughout history: silent cinema, cineconcerts, visual music and veejaying. In this section, we briefly review two recent live cinema performances “Super Everything” by The Light Surgeons and “Everything Is Going According to Plan” by Adam Curtis with Massive Attack. The second section analyzes in detail the concept, morphology and work methodology of the collective Moda Vestra — which faced challenges when trying to create a coherent narrative for its real time performances. In the third section (conclusion), we propose a narrative structure that can be used in future “live cinema” shows. This “formula” is based on the “three act structure” for cinema, developed by authors like Syd Fleld |
publishDate |
2021 |
dc.date.none.fl_str_mv |
2021 2021-01-01T00:00:00Z 2024-01-19T10:25:41Z |
dc.type.status.fl_str_mv |
info:eu-repo/semantics/publishedVersion |
dc.type.driver.fl_str_mv |
info:eu-repo/semantics/article |
format |
article |
status_str |
publishedVersion |
dc.identifier.uri.fl_str_mv |
http://hdl.handle.net/10400.1/20319 |
url |
http://hdl.handle.net/10400.1/20319 |
dc.language.iso.fl_str_mv |
eng |
language |
eng |
dc.relation.none.fl_str_mv |
10.34623/eyzn-0b15 2184-8661 |
dc.rights.driver.fl_str_mv |
info:eu-repo/semantics/openAccess |
eu_rights_str_mv |
openAccess |
dc.format.none.fl_str_mv |
application/pdf |
dc.publisher.none.fl_str_mv |
CIAC - Centro de Investigação em Artes e Comunicação |
publisher.none.fl_str_mv |
CIAC - Centro de Investigação em Artes e Comunicação |
dc.source.none.fl_str_mv |
reponame:Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) instname:Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação instacron:RCAAP |
instname_str |
Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
instacron_str |
RCAAP |
institution |
RCAAP |
reponame_str |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
collection |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) |
repository.name.fl_str_mv |
Repositório Científico de Acesso Aberto de Portugal (Repositórios Cientìficos) - Agência para a Sociedade do Conhecimento (UMIC) - FCT - Sociedade da Informação |
repository.mail.fl_str_mv |
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1799137056173064192 |