{"id":2081,"date":"2021-04-20T11:03:32","date_gmt":"2021-04-20T10:03:32","guid":{"rendered":"https:\/\/research.reading.ac.uk\/intermidia\/?page_id=2081"},"modified":"2021-06-02T12:14:00","modified_gmt":"2021-06-02T11:14:00","slug":"online-publications","status":"publish","type":"page","link":"https:\/\/research.reading.ac.uk\/intermidia\/publications\/online-publications\/","title":{"rendered":"Online publications"},"content":{"rendered":"<p>Flavia Cesarino Costa and John Gibbs (2020) \u2018<a href=\"http:\/\/www.alphavillejournal.com\/Issue19\/StatementCosta_Gibbs.pdf\" target=\"_blank\" rel=\"noopener\">Chanchadas and intermediality: on musical numbers of <em>Aviso aos Navegantes<\/em><\/a>\u2019 (Watson Macedo, Brazil, 1950). <em>Alphaville: Journal of Film and Screen Media<\/em>, 19. pp. 28-30. ISSN 2009-4078\u00a0 (<a href=\"https:\/\/doi.org\/10.33178\/alpha.19.03\">https:\/\/doi.org\/10.33178\/alpha.19.03)<\/a><\/p>\n<p><iframe loading=\"lazy\" title=\"Chanchadas and Intermediality\" src=\"https:\/\/player.vimeo.com\/video\/430520955?dnt=1&amp;app_id=122963\" width=\"640\" height=\"467\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>John Gibbs (2019) \u2018Say, have you seen the Carioca?\u2019: an experiment in non-linear, non-hierarchical approaches to film history. <a href=\"https:\/\/warwick.ac.uk\/fac\/arts\/film\/movie\/carioca.pdf\" target=\"_blank\" rel=\"noopener\"><em>Movie: A Journal of Film Criticism<\/em>, 8<\/a>. ISSN 2047-1661<\/p>\n<p><iframe loading=\"lazy\" title=\"\u2018Say, have you seen the Carioca?\u2019\" src=\"https:\/\/player.vimeo.com\/video\/335268992?dnt=1&amp;app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>Gibbs, J. and Reck Miranda, S. (2018)<a href=\"http:\/\/mediacommons.org\/intransition\/2018\/05\/01\/playing-margins\" target=\"_blank\" rel=\"noopener\"> \u2018Playing at the margins\u2019. <em>[in]Transition<\/em>, 5 (2)<\/a>. ISSN 2469-4312<\/p>\n<p>English Language version<\/p>\n<p><iframe loading=\"lazy\" title=\"Playing at the Margins\" src=\"https:\/\/player.vimeo.com\/video\/208110507?dnt=1&amp;app_id=122963\" width=\"640\" height=\"480\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe><\/p>\n<p>Portuguese Language version<\/p>\n<p><iframe loading=\"lazy\" title=\"Tocando nas margens\" src=\"https:\/\/player.vimeo.com\/video\/243270641?dnt=1&amp;app_id=122963\" width=\"640\" height=\"480\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>Albert Elduque (2016) <a href=\"http:\/\/mediacommons.futureofthebook.org\/intransition\/2016\/hunger-and-rotten-flesh\">\u2018Hunger and Rotten Flesh: Cinema Novo, Pasolini, Eisenstein\u2019<\/a>, <em>[in]Transition<\/em>, 3.3.<\/p>\n<p><iframe loading=\"lazy\" title=\"Hunger and Rotten Flesh - Cinema Novo, Pasolini, Eisenstein\" src=\"https:\/\/player.vimeo.com\/video\/184666547?dnt=1&amp;app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p>Stefan Solomon (2016). \u00a0\u2018Still Brazil\u2019, <em>[<a href=\"http:\/\/mediacommons.org\/intransition\/2016\/still-brazil\" target=\"_blank\" rel=\"noopener\">in]Transition: Journal of Videographic Film and Moving Image Studies<\/a><\/em> 3, no. 3 (2016). The link to the journal where it is hosted which contains this accompanying <a href=\"http:\/\/mediacommons.org\/intransition\/2016\/still-brazil\" target=\"_blank\" rel=\"noopener\">short essay<\/a>.<\/p>\n<p><iframe loading=\"lazy\" title=\"Still Brazil\" src=\"https:\/\/player.vimeo.com\/video\/181277090?dnt=1&amp;app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<h1 class=\"_3vbdr sc-dfVpRl jZZncJ\"><span class=\"-KXLs\">Remediating the Archive in Chinese Independent Cinema<\/span><\/h1>\n<p class=\"first\">When a historical event is captured in the moment by the photographic image, it leaves an indexical trace which film theorist Andr\u00e9 Bazin in his essay \u2018The Ontology of the Photographic Image\u2019 (1967) likens to fingerprints, moulds or death masks. This indexical trace provides the structural spine of Chinese artist Hu Jie\u2019s documentary film Though I Am Gone (\u6211\u867d\u6b7b\u53bb, 2006). By combing individual testimonies, legal documents, newsreel footage and photographs, Hu Jie reconstructs and rearticulates the details surrounding the murder of Vice-Principal Bian Zhongyun by her Beijing-based students during the youth rebellion-led Red Guard Movement in 1966.<\/p>\n<p>This video essay examines how the filmmaker revives, exposes and re-examines Chinese cultural memory through a persistence of subjectivity, brought about by key witness accounts surrounding the event. On the one hand, the film relies heavily on one witness, Bian\u2019s husband Wang Jingyao, a former photojournalist who provides comprehensive photographic archival material for the filmmaker to record. On the other hand, the filmmaker\u2019s aesthetic choices create spatial and visual juxtapositions that unearth historical gaps in cultural memory and the limits of documentary discourse on the theme of death and mourning.<\/p>\n<p>https:\/\/vimeo.com\/457025502<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Flavia Cesarino Costa and John Gibbs (2020) \u2018Chanchadas and intermediality: on musical numbers of Aviso aos Navegantes\u2019 (Watson Macedo, Brazil, 1950). Alphaville: Journal of Film and Screen Media, 19. pp&#8230;.<a class=\"read-more\" href=\"&#104;&#116;&#116;&#112;&#115;&#58;&#47;&#47;&#114;&#101;&#115;&#101;&#97;&#114;&#99;&#104;&#46;&#114;&#101;&#97;&#100;&#105;&#110;&#103;&#46;&#97;&#99;&#46;&#117;&#107;&#47;&#105;&#110;&#116;&#101;&#114;&#109;&#105;&#100;&#105;&#97;&#47;&#112;&#117;&#98;&#108;&#105;&#99;&#97;&#116;&#105;&#111;&#110;&#115;&#47;&#111;&#110;&#108;&#105;&#110;&#101;&#45;&#112;&#117;&#98;&#108;&#105;&#99;&#97;&#116;&#105;&#111;&#110;&#115;&#47;\">Read More ><\/a><\/p>\n","protected":false},"author":219,"featured_media":0,"parent":1793,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"__cvm_playback_settings":[],"__cvm_video_id":"","footnotes":"","_links_to":"","_links_to_target":""},"class_list":["post-2081","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v21.8.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Online publications - Intermidia<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/research.reading.ac.uk\/intermidia\/publications\/online-publications\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Online publications - Intermidia\" \/>\n<meta property=\"og:description\" content=\"Flavia Cesarino Costa and John Gibbs (2020) \u2018Chanchadas and intermediality: on musical numbers of Aviso aos Navegantes\u2019 (Watson Macedo, Brazil, 1950). 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