Proceedings by Iakovos Panagopoulos
Serious Film Games (S.FI.GA.): An Educational Approach of Scriptwriting through a Challenge of Uncertainty, 2022
In the framework of the proposed approach "Serious Film Games" (S.FI.GA.), play and cinematograph... more In the framework of the proposed approach "Serious Film Games" (S.FI.GA.), play and cinematography are combined to aim the study of randomness, risk and uncertainty, in an online teaching environment for the process of scriptwriting. Students and graduates of the Pedagogical and Didactical Sufficiency Program (PDSP) of the Department of Audio & Visual Arts participate in a playful activity, which requires them to select cards and use their content to create the backbone of a story. The card selection process, which is largely influenced by the element of chance, aims to push the students into quick and inventive shortcuts between the narrative elements, as well as towards a constant critical reflection against their stereotypes and preconceptions. This paper presents the game's second case study, which builds on previous feedback to further elaborate on the issue of uncertainty and its role in creating challenging game-based learning environments. The results suggest that chance, risk, and uncertainty are positive contributors to an exciting and creative learning experience, whereas the constraint of time causes anxiety that is perceived by most as a positive motivator.
University of Western Macedonia, School of Fine Arts, Department of Fine and Applied Arts, 2020
This paper will exhibit the results of the first interdisciplinary workshop with the title Limnop... more This paper will exhibit the results of the first interdisciplinary workshop with the title Limnophobia, which aimed at the creation of a multiform digital material via the investigation, the recording and the studying of the historical, morphological and social features of the space in relation to the thematic of the “fear”, as ex- pressed in a set of different forms that refer to the relation with the environment and the participants. The first meeting-workshop took place in the art facilities of the Department of Fine and Applied Arts of the University of Western Macedonia, in the “Psarades” village near lake “Prespes” in collaboration with the Departments of Audio-visual Arts of Ionian University and the Department of Interior Architecture, Decoration and Design of the Technological Educational Institute of Athens. Emphasis has been put on the methods of inclusion of the basic principles of cinematic art in the visual arts, especially in video art. The principal influence of this work- shop was Alexandre Astruc and his approach to the aesthetics in his manifesto “Du stylo à la caméra et de la caméra au stylo”. The educational methodology included: a) the observation, the investigation and the inclu- sion of the special characteristics of the place as the beginning and framework of reception of the artistic and educational procedure, b) the designation of the use of different means, such as the text, the photography, the video, the sound and the physical performances, c) the theoretical analysis and approach in different cinematic styles, the creation and the studying of the characters, and d) the creation and the design of the implementation of different scripts and the presentation of visual practices and digital techniques. Finally, emphasis has also been put on the quality and originality of the attribution of the issue to both a collective and individual level in relation to the theme.
International Academic Forum, 2017
This paper aims to analyse the historical and dialectical approach of Angelopoulos's mise-en-scen... more This paper aims to analyse the historical and dialectical approach of Angelopoulos's mise-en-scene as well as it's connection to historical events in his films: Day's of '36 (1972), The Travelling Players (1975), The Hunters (1977), Alexander the Great (1980). Angelopoulos was particularly interested in the Greek History of the twentieth century, and he puts it under examination, because of the events that took place in the Greek nation during and after the WWII and the Greek Civil War (1946-1949). The visualization of the history by the point of view of the defeated, gives him an opportunity to develop his narratives and style and put the story into a new language: melancholy, a materialist poetics with a Marxist taste, which follows the lives of those who lost or have been lost in the turns of the historical events. This first period of Angelopoulos coincides with the most turbulent political and historical years after the WWII: the dictatorship (1967-1974) of the colonels. The director makes the dictatorship an advantage, in order to represent history from a critical point of view with a dialectic approach, making a reference to the current situation through a kind of political theatrical scene he creates in his films, which could include different places and different times, using forms and techniques of the well known Bertolt Brecht's " epic theatre ". Without flashbacks he navigates into the historical events that appears in front to the audience as present.
Interdisciplinary Conference TABOO - TRANSGRESSION - TRANSCENDENCE in Art & Science, 2017
Taboo and fear or fear and Taboo. The use of fear as structural feature in visual arts and cinema... more Taboo and fear or fear and Taboo. The use of fear as structural feature in visual arts and cinema art, through autoethnographic recordings of the postgraduate students in the “Audiovisual Arts in the Digital Age” program of the Department of Audio and Visual Arts of Ionian University.
The feature of “fear” influenced strongly the arts, because the charm of this matter is linked the process of myth and collective unconscious. These issues may be particularly interesting for the art world, but they are considered as taboo by the majority of the society. As a topic, fear is intrinsically linked with art and, in certain cases, marked their maiden voyage. A characteristic example is one of the first screenings of cinema film by Lumière brothers, the title of which was: L’Arrivée d’un train en gare de la Ciotat1895, where it is referred from many sources that the audience stood up terrified as they saw the “virtual train” coming straight at them. Peter Gsellmann states: “The audience was running towards the exit consumed by fear when they saw the puffer coming towards them. They feared that it could come out of the screen”. Over the years, both fear and the aesthetic media have changed and have been adapted to modern reality. The present announcement refers to studying fear as taboo in art, focusing on the project results of the students in the postgraduate program “Audiovisual Arts in the Digital Age” of the Department of Audio and Visual Arts of the Ionian University for the lesson of “Video- Art”. The main objective of the projects was the attempt to connect the audiovisual arts with the language of cinema and the performing arts. The ultimate objective was the production of integrated projects, which had the topic of fear as their structural feature. This experiment gave the opportunity to various approaches of the art to come together through the educational process. Except for the production and the delivery of the projects, students researched the issue of fear in order to produce autoethnographic projects on their perception about fear. The material produced from the present announcement will be the production of an academic research by the professors of the course, which will also link the theoretical issue of fear as Taboo through three different approaches (Video Art, Performing Art, Cinema) as well as the presentation of some parts of the students’ projects and their autoethnographic portfolio that came from the research carried through the educational procedure. The research questions that will be answered are the following: Is fear a taboo in today’s art today? How is this reflected in the educational process through a combining way of learning various approaches of art?
Interdisciplinary Conference TABOO - TRANSGRESSION - TRANSCENDENCE in Art & Science, 2017
by Dalila Honorato, Andreas Giannakoulopoulos, Marily Argyrokastriti, Iakovos Panagopoulos, Iouliani Theona, Giorgos Nikopoulos, Theodore Kabouridis, Roberta Buiani, Katerina Karoussos, Lila Moore, Nikos Dimitrios Mamalos, Antonia Plerou, Yorgos Drosos, Konstantinos Tiligadis, Francesco Kiais, Maria Athanasekou, Joseph Nechvatal, Marne Lucas, Kostoula Kaloudi, john thrasher, Despoina Poulou, and Karolina Żyniewicz Taboo-Transgression-Transcendence in Art & Science 2017, 2018
The conferences "Taboo-Transgression-Transcendence in Art & Science" include theoretical presenta... more The conferences "Taboo-Transgression-Transcendence in Art & Science" include theoretical presentations and artists' talks focusing: a) on questions about the nature of the forbidden and about the aesthetics of liminality - as expressed in art that uses or is inspired by technology and science, b) in the opening of spaces for creative transformation in the merging of science and art.
Conference Presentations by Iakovos Panagopoulos
MPE/MeCCSA Practice Network Symposium 2021, 2021
There are currently two types of people dealing with cinema at the Greek universities. The first ... more There are currently two types of people dealing with cinema at the Greek universities. The first are the theoreticians with background in film studies, who hold a PhD in film theory and approach their topic strictly from a theoretical point of view. The second type of university teaching staff are practical filmmakers that come directly from the industry. Most of them have neither academic background, nor a PhD, nor any research experience, while they approach their courses from a practical point of view sharing their experience from the industry. In the same time, the way that the industry is currently working in Greece, even the so-called independent cinema, does not provide the filmmakers with the required freedom of choices and exploration in order to express their personal development and gaze. The Greek independent filmmakers are trapped in a vicious circle of changing their form and style in order to find funding to create their films, giving their intellectual property just for the sake of creating something that is close to what they have imagined in the first place. It seems that for the time being, there are two main paths that someone in Greece could follow in order to deal with cinema. From my experience in the United Kingdom, where I completed my practice-based PhD in film practice, I know that there is also a third path. A path that connects theory and practice research and creates endless possibilities not only for film academics but for independent filmmakers as well. This is what I am trying to establish in Greece, an environment that is completely virgin at the moment. In this presentation I will present some critical issues, challenges and possibilities of establishing this third path in cinema in Greece.
Link: https://www.youtube.com/watch?v=gXdDmVCudVM&list=PLDqw4Dc6jFfHPSiaBR_GFWaPUrg2dXAX5&index=4
EuroMed: International Conference on Digital Heritage, 2022
In this work, we present one of the first attempts to extend to the Metaverse, the Ionian Film Of... more In this work, we present one of the first attempts to extend to the Metaverse, the Ionian Film Office, a public service inaugurated and supported by the prefecture of Ionian islands in Greece. Today, the wide availability of metaverse platforms, combined with the introduction of new types of interaction devices, the increase in connectivity speeds and the wide acceptance of those methods by the public are all factors that allow advanced levels of mixed virtual/physical collaboration to be realized. Within this real-life case study, we explore various developmental aspects that should be considered from different perspectives. Those include: adaptation of the intended interactivity scenario and use of the virtual space for other complementary purposes beyond its original intended use; various issues that commonly arise during collaboration as officials have to be present and interact in both the actual and virtual spaces with producers; designing for potential tourists or tourism office representatives who explore the available information gathered from a visiting-touristic perspective; the incorporation of various uses that include providing a shared visiting space for virtual exhibitions within touristic expos; the ethical and legal implications that arise.
The art and design of XR, Onassis Foundation , 2022
This case study describes our attempt to extend the reality of visitors of the Ionian Film Office... more This case study describes our attempt to extend the reality of visitors of the Ionian Film Office, a public service inaugurated and supported by the Prefecture of Ionian Islands in Greece, using proprietary Metaverse environments. After the cash rebate regulation law, Greece became one of the most attractive locations to film in Europe. Film Offices is the first stop that a producer or a director makes in order to decide if their going to locate the production of their film in that place of somewhere else. The availability of metaverse environments offering advanced interactivity, supporting various types of interaction modes are important factors that allow virtual/physical collaboration to be realized. In this work we explore various developmental aspects that should be considered from different perspectives that include: adaptation of the intended interactivity scenario and use of the virtual space for other complementary purposes beyond its original intended use; various issues that commonly arise during collaboration as officials have to be present and interact in both the actual and virtual spaces with producers; designing for potential tourists or tourism office representatives who explore the available information gathered from a visiting-touristic perspective; the incorporation of various uses that include providing a shared visiting space for virtual exhibitions within touristic expos; the ethical and legal implications that arise. During the implementation of the project, the research team obtained copyright information on creative materials already existing outside the metaverse, such as paintings, photographs and other images used by the Ionian Islands Film Office as a physical space. For the creative material that is protected by copyright, we ensured copyright clearance, that is, we obtained the required authorizations to reproduce and share online the digitized material for the purposes of the project.With regards to ethical implications, the research team took into serious consideration the ethical challenges raised in a virtual immersive environment by acknowledging that the metaphor of a virtual activity may give rise to a very different digital crime than within the physical world. In light of the above, it was decided that the commercial activities that require credentialed access to content and engagements will need to have a mechanism of verifying the identity for each user.
This contribution has been made possible through the financial support of the project HAL (Hub of Art Laboratories) *MIS :5047267*» code 80504, ESPA 2014-2020, EPAnEK, co-financed by Greece and the European Union and implemented at the Ionian University, Corfu.
Iannis Xenakis: The Music of the Universe, 2022
Approaching “Weird Wave”. The use of theatrical form in contemporary Greek cinema and the use of these findings at “Teaching Technologies in Art Education” in Ionian University, 2019
Contemporary Greek cinema from the dawn of Greek Weird Wave (Rose, 2011) with the film Dogtooth (... more Contemporary Greek cinema from the dawn of Greek Weird Wave (Rose, 2011) with the film Dogtooth (2009) of Yorgos Lanthimos, opened a new chapter in the landscape of global cinema. Greek Weird Wave was linked with the Greek financial crises and it was connected with it not only through the topics of their narrations but with the ways of producing their films also. Even though it was never an official avant garde movement with common characteristics and manifesto (like dogma 95), Greek Weird Wave directors share a similar aesthetic in form and style. In mixture of absurdity and raw realism Greek Weird Wave maps a contemporary reality in Greece during the roughest years of the financial crises. Bradsaw states for Dogtooth that: ‘could be read as a superlative example of absurdist cinema, or possibly something entirely the reverse — a clinically, unsparingly intimate piece of psychological realism’ (Bradsaw,2010). Through the directors of Greek Weird Wave one can notice many differences in form and style, especially if we compare directors like Athina Rachel Tsangari and Yannis Economides. On the other hand, there are some very crucial similarities that run throughout most of the directors of the Wave. Metzidakis in his paper “No Bones to Pick with Lanthimos’s Film Dogtooth” talks extensively about four points in Dogtooth (curious language, evocation of cinematic and literary works, confusion of genre, and confusion of species) (Metzidakis, 2014). In the same time, it is also very noticeable in combination with the above four points an extensive use of theatrical form. This theatrical form is noticeable in two ways. The first one is through the approach of acting. This choice gives the creators the opportunity to underline this absurdity in their style. The second way is the use of long shots and the use of the cinematic space in their films. This is noticeable to most of the directors of the Wave from Yorgos Lanthimos to Alexandros Avranas and Argyris Papadimitropoulos. This theatrical approach to acting is used as a tool in the fourth point of Metzidakis, the confusion of species. As Metzidakis says: ‘This ultimately postmodern mixing of theatrical genres leads us to consider a fourth and final category of traits important to this film: those which problematize conventional scientific distinctions between human and animal species (Metzidakis, 2014). This presentation will focus in a deep research in the use of theatrical techniques in the cinematic work of three directors, Yorgos Lanthimos, Alexandros Avranas and Athina Rachel Tsangari. The findings of this research will be presented before the conference in the students of the Teaching and Pedagogical Training Programme in Art Teaching and Technology (Certificate of Pedagogical and Teaching Competence) of Audio Visual Arts department of Ionian University in “ Art Teaching and Creative Technologies” module. This module focuses on cinema and in the ways that this tool can be used in the teaching experience of minor students. The opinion of the students and the impact in their teaching experience of this research will be used as a methodological tool for the conference presentation. We will produce some semi structure video interviews with the university students that will show the impact of this research to young future teachers. Film Studies and cinematic research can be a powerful tool for future art teachers in order to approach their students from a new and vibrant point of view.
Petros Sevastikoglou is a well established Greek director and teacher in the national drama schoo... more Petros Sevastikoglou is a well established Greek director and teacher in the national drama school of Athens. His own personal “gaze” in filmmaking is a matter of discussion and research since is adding original contributions in Greek cinema. Sevastikoglou in his latest fiction film Electra 2014 is changing his form and style, working in a documentary mode but for a fiction film production. He is referring to the idea of the so called “camera stylo” and Alexander Astruct (Astruct, 1948). Sevastikoglou believes that now that the camera equipment is much lighter the director can write his script with his camera and through improvisation techniques (Sevastikoglou, 2017). The director had a basic idea for the narration without having any script and focused on improvisation techniques, with the actors who had to act based on a feeling, emotion etc. A really important fact was the strong characters background story and psychological profile that the director created and the small crew (only the director and the actors) that helped the production of the film to move forward. The final narration of the film was “written” during the process of the post production editing. This kind of creation opens new chapters in filmmaking from a technical, theoretical and production wise point of view. Is questioning all the traditional models of filming and travels from formalism to realism and from documentary to fiction and puts the story into a new language. This paper is going to analyse the directors mise-en-scene in Electra 2014 through his documentary techniques and will place this new understanding of filming language on paper. The research questions are How is the director using documentary techniques in his fiction film? Where is this creation placed from realism to formalism and from documentary to fiction?
Theo Angelopoulos work, especially his earlier films, focused on Greek history and politics. In ... more Theo Angelopoulos work, especially his earlier films, focused on Greek history and politics. In the so-called Trilogy of History [Days of '36 (1972), The Travelling Players (1975), The Hunters (1977)] and Alexander the Great (1980), Angelopoulos used collective archetypes, visual poetics and Brechtian alienation to underline a historical reality that for the time period was a taboo subject. Civil War (1944-1949) and Civil War trauma played a significant role in his films. Angelopoulos aimed to wake up collective memories with his work, so he could underline a historical truth that has been hidden from the Greek nation for decades. In some of Angelopoulos's film there are elements of appearance of Aris Veluhiotis historical figure. The use of Aris Velouhiotis as a figure plays a really important role in his narration. Aris Velouhiotis is a significant historical figure in Greece's modern history. His actions, as a leader of the popular army during the German Occupation (1941-1944) and Greek civil war, were either heavily criticised or were referred as the reason for the freedom of Greece from the Germans. His mythical figure was either used as a nightmare for the ruling class or as the ultimate savior for the partisans and the working-class people. Theo Angelopoulos used him as a mythical archetype to wake up collective memories and address specific questions to the audience. Understanding the use of Aris Velouhiotis figure, in Theo Angelopoulos work, will give us a better understanding of his political approach in Civil and post-Civil War trauma period and on his approach in modern Greek History in general. This presentation will analyse the historical and political importance of Civil and post-Civil War trauma in Theo Angelopoulos films, as well as the use of Aris Velouhiotis historical figure in his films. It will focus in analysing these elements in four of his films Travelling Players (1975), The Hunters (1977), Alexander the Great (1980) and The Voyage to Cythera (1984).
Talks/Interviews by Iakovos Panagopoulos
Interview at Corfu Magazine regarding my latest film "Flickering Souls Set Alight" and the resear... more Interview at Corfu Magazine regarding my latest film "Flickering Souls Set Alight" and the research behind the film
Δημοσίευση στην τοπική εφημερίδα της Κέρκυρας "Ενημέρωση" σχετικά με μια σειρά ομιλιών που πραγμα... more Δημοσίευση στην τοπική εφημερίδα της Κέρκυρας "Ενημέρωση" σχετικά με μια σειρά ομιλιών που πραγματοποιούσα με θέμα τον "Χώρο και τους Προνομιακούς Τόπους" στον κινηματογράφο του Θόδωρου Αγγελόπουλου. Η διάλεξη αυτή πραγματοποιήθηκε στο τμήμα Τεχνών Ήχου και Εικόνας του Ιονίου Πανεπιστημίου, στο Τμήμα Εικαστικών και Εφαρμοσμένων Τεχνών του Πανεπιστημίου Δυτικής Μακεδονίας και στο Media School στο Bournemouth University.
Papers by Iakovos Panagopoulos
Recontextualising Practice-based Research, Oct 2022
Nowadays, there are two types of scholars teaching film courses at the Greek universities. The fi... more Nowadays, there are two types of scholars teaching film courses at the Greek universities. The first one is the theoreticians with a background in film studies and a PhD in film theory, who approach their teaching methods strictly from a theoretical point of view. The second type of university teachers are practical filmmakers that come directly from the industry, most of them without a PhD or formal research experience. They approach their courses from a practical point of view sharing their experience from the industry. Greek Universities are exclusively public at the moment and fall under the Ministry of Education. The system is quite bureaucratic and difficult to adapt within and responds slowly, if at all to changes. PhD candidates are dealing almost exclusively with traditional theoretical PhDs. Over the past several years, the first art-based PhDs focusing upon performing arts or visual arts in the Greek academic environment were submitted. However, the field of film practice research is still brand new. At the same time, over the past decade the Ministry of Education established a new unit in Universities that will measure the quality of research and teaching entitled Quality Assurance Unit (MO.DI.P). MO.DI.P is an advisory body for the administration of the University which, through the coordination of procedures for internal and external evaluation of the academic units of the Institution, gathers information regarding the strong and weak points of a University. Within this framework it is really difficult for arts based or film-based research practitioners to prove the impact of their research to MO.DI.P. and to establish film practice research in general within the Greek academic environment. Since my background is on film practice and my PhD was undertaken in the United Kingdom, I am familiar with the ways that we can measure film practice impact in the academic environment. Establishing this culture in the Greek academic environment is quite difficult but at the same time it forges new paths and exciting opportunities for new art based and film-based research practitioners. This paper will focus on the ways that we can measure impact in film practice research, through examples from my own work. I will argue how I was able to measure the impact of my own films Flickering Souls Set Alight (2019) and A Quest for Eternity (2020) but also how to measure impact in more cross disciplinary research with examples of my participation as researcher in StoryLab (Skills Training for Democratised Film Industries) research lab. Finally, I will focus on the issues and the possibilities of establishing these new opportunities in the Greek academic environment and the solutions that this alternative path will be able to provide, not only to academia in Greece but to contemporary Greek filmmakers, too.
Screenworks Volume 12.1., 2022, Mar 1, 2022
A Quest for Eternity (2020) is a fifty-five-minute documentary which explores some very specific ... more A Quest for Eternity (2020) is a fifty-five-minute documentary which explores some very specific elements of Theo Angelopoulos’s form and style. The documentary is divided in four chapters and each chapter focuses on a different part of Angelopoulos’s style. The creation of this documentary is the main methodological tool of this research project, which aims to collect data from semi-structured interviews in order to provide new insights regarding the ways to present alternative historical narratives with the use of cinematic space in Theo Angelopoulos’s work and to create a strong example in the ways that we can use cinematic tools as contemporary filmmakers to present alternative historical narratives through creative practice.
Frames Cinema Journal, 2021
In 2018 and 2019, StoryLab (Skills Training for Democratised Film Industries) organised two trips... more In 2018 and 2019, StoryLab (Skills Training for Democratised Film Industries) organised two trips to the Wind Wolves Preserve in Bakersfield, California. The coordinator of both trips was Prof. Erik Knudsen, the founder of StoryLab and ethnomediaology methodology and I was the principal investigator of these trips. Ethnomediaology is an interdisciplinary approach inspired by practices in ethnomusicology and autoethnography. Ethnomediaology involves the active and immersive participation of researchers in a research culture and its processes, using this profound personal engagement as a basis for knowledge generation, data gathering and evaluation.[1]
The use of mobile phones was highly significant to these specific workshops since they were the essential tool that enabled participants to shoot their final films. Also of note is the fact that it was the first time that StoryLab participants had used mobile phones so extensively to film their final stories. StoryLab workshops are based on ideation techniques and the creation of stories. During the above workshops we decided to create a final form of these stories and the use of mobile phones proved invaluable in the process and gave the opportunity to participants to continue using the mobile phones for filmmaking even after the duration of the workshops.
This paper uses this case study and my personal perspective to demonstrate the way that ethnomediaology can offer solutions to local communities and participants who want to share their own stories. The significance of this case study is demonstrated by the final products and the impact interviews of the participants, as well as the process of brainstorming and evidence gathered in the workshops.
Screenworks Volume 11.1., 2020
Flickering Souls Set Alight is a visually arresting fiction film following the life of a Greek fa... more Flickering Souls Set Alight is a visually arresting fiction film following the life of a Greek family during the toughest years of the financial crisis. With her husband on a life support machine, the film depicts Persephone’s financial and emotional struggles, drawing attention to a lack of support for people suffering from ALS. This practice-research enquiry asks how modernist techniques, such as Brechtian alienation, can comment on contemporary Greek social issues. Highlighting the cinema of Theo Angelopoulos, Andrei Tarkovsky and Abbas Kiarostami as references, Panagopoulos’ research statement details his production process through the lens of a total filmmaker approach and proposes a new wave of political cinema in Greece.
Books by Iakovos Panagopoulos
Η Παιγνιώδης Σοβαρότητα: Serious Film Games S.FI.GA.:Σύμμεικτες ιδιότητες, τρόποι και λειτουργίες στην εκπαίδευση, 2023
Οι ιδιότητες και οι λειτουργίες της παιγνιοποίησης και της κινηματογράφησης παρέχουν έναν εξαιρετ... more Οι ιδιότητες και οι λειτουργίες της παιγνιοποίησης και της κινηματογράφησης παρέχουν έναν εξαιρετικά δημιουργικό τρόπο επίτευξης μαθησιακών στόχων. Ο συνδυασμός αρχών και μεθόδων ανταποκρίνεται στην ανάγκη να αναζητηθεί η ιδιαιτερότητα του τρόπου με τον οποίο συγκροτούν οι μαθητές αντιλήψεις, αποκτούν γνώσεις και τις οργανώνουν. Μέσω της προτεινόμενης μεθοδολογίας S.FI.GA. προτάσσονται παιγνιώδεις δράσεις κατανόησης και αναδύονται υποκειμενικές, κοινωνικές, ηθικές και πολιτικές σκέψεις. Εμμένοντας σε ένα κύκλωμα ανταλλαγής μεταξύ ψηφιακού και αναλογικού τύπου αντίληψης, μελετάται πώς καταγράφονται και λειτουργούν. Ο σχεδιασμός και η παραγωγή μικρού μήκους ταινίας, μέσα από την περιπλάνηση των μαθητών στον κόσμο ψηφιακών παιχνιδιών, είναι ιδιαιτέρως δημιουργική διαδικασία. Ενεργοποιείται η προσοχή των μαθητών και διευρύνεται η αντίληψή τους. Η δομή της αφήγησης, η αμφισημία και η ρευστότητα στη δράση χαρακτήρων/ηρώων, λόγω των παρεμβάσεων στην εξέλιξη της ιστορίας, προκαλούν τη σκέψη των μαθητών. Ο χειρισμός του θέματος, των χαρακτήρων, της ίδιας της αφήγησης, στοχεύει σε έναν τρόπο δόμησης/οργάνωσης, μελετώντας τις συναρθρώσεις τους. Οι μαθητές κατανοούν αιτίες δράσης και εμπλέκονται ενεργά. Ξεκινώντας εντός του ψηφιακού κόσμου, οι μαθητές εστιάζουν στον πραγματικό κόσμο, τον οποίο βιώνουν και στον οποίο παρίστανται.
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Proceedings by Iakovos Panagopoulos
The feature of “fear” influenced strongly the arts, because the charm of this matter is linked the process of myth and collective unconscious. These issues may be particularly interesting for the art world, but they are considered as taboo by the majority of the society. As a topic, fear is intrinsically linked with art and, in certain cases, marked their maiden voyage. A characteristic example is one of the first screenings of cinema film by Lumière brothers, the title of which was: L’Arrivée d’un train en gare de la Ciotat1895, where it is referred from many sources that the audience stood up terrified as they saw the “virtual train” coming straight at them. Peter Gsellmann states: “The audience was running towards the exit consumed by fear when they saw the puffer coming towards them. They feared that it could come out of the screen”. Over the years, both fear and the aesthetic media have changed and have been adapted to modern reality. The present announcement refers to studying fear as taboo in art, focusing on the project results of the students in the postgraduate program “Audiovisual Arts in the Digital Age” of the Department of Audio and Visual Arts of the Ionian University for the lesson of “Video- Art”. The main objective of the projects was the attempt to connect the audiovisual arts with the language of cinema and the performing arts. The ultimate objective was the production of integrated projects, which had the topic of fear as their structural feature. This experiment gave the opportunity to various approaches of the art to come together through the educational process. Except for the production and the delivery of the projects, students researched the issue of fear in order to produce autoethnographic projects on their perception about fear. The material produced from the present announcement will be the production of an academic research by the professors of the course, which will also link the theoretical issue of fear as Taboo through three different approaches (Video Art, Performing Art, Cinema) as well as the presentation of some parts of the students’ projects and their autoethnographic portfolio that came from the research carried through the educational procedure. The research questions that will be answered are the following: Is fear a taboo in today’s art today? How is this reflected in the educational process through a combining way of learning various approaches of art?
Conference Presentations by Iakovos Panagopoulos
Link: https://www.youtube.com/watch?v=gXdDmVCudVM&list=PLDqw4Dc6jFfHPSiaBR_GFWaPUrg2dXAX5&index=4
This contribution has been made possible through the financial support of the project HAL (Hub of Art Laboratories) *MIS :5047267*» code 80504, ESPA 2014-2020, EPAnEK, co-financed by Greece and the European Union and implemented at the Ionian University, Corfu.
Here is the link of the presentation: https://www.youtube.com/watch?v=Tu0BDDwpXJk (07:01:00-07:41:00)
Talks/Interviews by Iakovos Panagopoulos
Papers by Iakovos Panagopoulos
The use of mobile phones was highly significant to these specific workshops since they were the essential tool that enabled participants to shoot their final films. Also of note is the fact that it was the first time that StoryLab participants had used mobile phones so extensively to film their final stories. StoryLab workshops are based on ideation techniques and the creation of stories. During the above workshops we decided to create a final form of these stories and the use of mobile phones proved invaluable in the process and gave the opportunity to participants to continue using the mobile phones for filmmaking even after the duration of the workshops.
This paper uses this case study and my personal perspective to demonstrate the way that ethnomediaology can offer solutions to local communities and participants who want to share their own stories. The significance of this case study is demonstrated by the final products and the impact interviews of the participants, as well as the process of brainstorming and evidence gathered in the workshops.
Books by Iakovos Panagopoulos
The feature of “fear” influenced strongly the arts, because the charm of this matter is linked the process of myth and collective unconscious. These issues may be particularly interesting for the art world, but they are considered as taboo by the majority of the society. As a topic, fear is intrinsically linked with art and, in certain cases, marked their maiden voyage. A characteristic example is one of the first screenings of cinema film by Lumière brothers, the title of which was: L’Arrivée d’un train en gare de la Ciotat1895, where it is referred from many sources that the audience stood up terrified as they saw the “virtual train” coming straight at them. Peter Gsellmann states: “The audience was running towards the exit consumed by fear when they saw the puffer coming towards them. They feared that it could come out of the screen”. Over the years, both fear and the aesthetic media have changed and have been adapted to modern reality. The present announcement refers to studying fear as taboo in art, focusing on the project results of the students in the postgraduate program “Audiovisual Arts in the Digital Age” of the Department of Audio and Visual Arts of the Ionian University for the lesson of “Video- Art”. The main objective of the projects was the attempt to connect the audiovisual arts with the language of cinema and the performing arts. The ultimate objective was the production of integrated projects, which had the topic of fear as their structural feature. This experiment gave the opportunity to various approaches of the art to come together through the educational process. Except for the production and the delivery of the projects, students researched the issue of fear in order to produce autoethnographic projects on their perception about fear. The material produced from the present announcement will be the production of an academic research by the professors of the course, which will also link the theoretical issue of fear as Taboo through three different approaches (Video Art, Performing Art, Cinema) as well as the presentation of some parts of the students’ projects and their autoethnographic portfolio that came from the research carried through the educational procedure. The research questions that will be answered are the following: Is fear a taboo in today’s art today? How is this reflected in the educational process through a combining way of learning various approaches of art?
Link: https://www.youtube.com/watch?v=gXdDmVCudVM&list=PLDqw4Dc6jFfHPSiaBR_GFWaPUrg2dXAX5&index=4
This contribution has been made possible through the financial support of the project HAL (Hub of Art Laboratories) *MIS :5047267*» code 80504, ESPA 2014-2020, EPAnEK, co-financed by Greece and the European Union and implemented at the Ionian University, Corfu.
Here is the link of the presentation: https://www.youtube.com/watch?v=Tu0BDDwpXJk (07:01:00-07:41:00)
The use of mobile phones was highly significant to these specific workshops since they were the essential tool that enabled participants to shoot their final films. Also of note is the fact that it was the first time that StoryLab participants had used mobile phones so extensively to film their final stories. StoryLab workshops are based on ideation techniques and the creation of stories. During the above workshops we decided to create a final form of these stories and the use of mobile phones proved invaluable in the process and gave the opportunity to participants to continue using the mobile phones for filmmaking even after the duration of the workshops.
This paper uses this case study and my personal perspective to demonstrate the way that ethnomediaology can offer solutions to local communities and participants who want to share their own stories. The significance of this case study is demonstrated by the final products and the impact interviews of the participants, as well as the process of brainstorming and evidence gathered in the workshops.
Είναι απαραίτητο σε αυτό το σημείο να χωρίσουμε την εργογραφία του Αγγελόπουλου σε τρεις εποχές. Η πρώτη του εποχή να τελειώνει με τους Κυνηγούς (1977), η δεύτερη με το Μετέωρο Βήμα του Πελαργού (1991) και η τρίτη με την Σκόνη του Χρόνου (2008). Ο Μεγαλέξανδρος (1980) δεν ανήκει σε καμία από τις παραπάνω εποχές, καθώς διαδραματίζει τον ρόλο της γέφυρας από την πρώτη εποχή στη δεύτερη. Ο διαχωρισμός των εν λόγω ταινιών του Αγγελόπουλου σε εποχές, είναι σημαντικός για διάφορους λόγους, όπως η διαφοροποίηση στην αισθητική, στην ματιά και στον τρόπο προσέγγισης των ιστοριών. Υπάρχει όμως και ένας βαθύτερος λόγος ο οποίος εντοπίζεται στην πολιτική διάσταση του έργου του και συνδέεται άμεσα με την φόρμα του.
Πρόλογος από τον Καθηγητή Erik Knudsen