Affirmative Post-Cinema: Narrative and Aesthetic Responses to Gender and Power

Información del proyecto

AFFIRMATIVE

Identificador del acuerdo de subvención: 800259

DOI

10.3030/800259

Proyecto cerrado

Fecha de la firma de la CE 21 Febrero 2018

Fecha de inicio 1 Noviembre 2018

Fecha de finalización 17 Abril 2021

Financiado con arreglo a

• EXCELLENT SCIENCE - Marie Skłodowska-Curie Actions

Coste total

€ 196 400,40

Aportación de la UE

€ 196 400,40

Coordinado por

UNIVERSITETET I BERGEN
Norway

Periodic Reporting for period 1 - AFFIRMATIVE (Affirmative Post-Cinema: Narrative and Aesthetic Responses to Gender and Power)

Período documentado: 2018-11-01 hasta 2020-10-31

Resumen del contexto y de los objetivos generales del proyecto

The project’s overall aim was to consider how post-cinematic arts deal with gendered roles and norms and power relations. It examined how different digital formats and genres condition post-cinematic aesthetics and spectatorship, namely augmented and virtual reality, gallery films and social media. The project has tested out the hypothesis that affirmative ethics are pursued for activism, and that it involves a correlation between the active participation of the viewer, narrative content and aesthetic forms.Since post-cinematic arts imply new viewers' involvement than cinema, this research is essential to understand how they may play an affirmative political role in society. Through the detailed analyses of narratives, aesthetics and viewing modes together, this study shed light on how digital films may affirmatively counteract the status quo and discrimination based on gender and race.

Trabajo realizado desde el comienzo del proyecto hasta el final del período abarcado por el informe y los principales resultados hasta la fecha

The project's research gives an overview of post-cinematic spectatorship and of its potential of to produce social and cultural changes. For this, the researcher has gathered post-cinematic works, especially of virtual and augmented reality, through attending several specialised film and new media festivals and events, and made them available in the Electronic Literature Knowledge Base (ELMCIP). For a detailed and in-depth examination of the spectator's involvement in post-cinematic arts and its potential for political transformation, the researcher chose specific case studies, which were studied through the methods of textual analysis and ethnography, which were presented at 6 international conferences and published in five journal articles, 2 book chapters and a monograph, all open access. In addition, the research for the project has served to prepare pedagogical material. The project followed two strands of work: on representation, production and distribution, and on VR, AR, and spectatorship. These two strands led to the organisation of very well attended online seminars involving contributions from renowned international artists and academics. The contributions to these two topics and seminars are currently prepared for publication as edited collections.

Avances que van más allá del estado de la técnica e impacto potencial esperado (incluida la repercusión socioeconómica y las implicaciones sociales más amplias del proyecto hasta la fecha)

The project has contributed to literature on virtual reality and the viewer's involvement. In particular, it went beyond the state of the art by studying the involvement of the body of the spectator through phonomenology and queer theory. This has brought light on how post-cinematic artworks participate in the reconfiguration of gender, space and power relations, as well as collective cultural memory through the creation of liminal spaces in between digital and physical involvement. The recent focus on discrimination in media production and distribution has also led the researcher to apply the project's innovative affirmative methodology to industry issues, which opens the field for further research and promises great impact in the writing and transformation of current cultural policies.

Logo Affirmative Project, by Katrine Patry