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The Research Centre for Minor Media/Culture (founded at the Department of Media and Communication, ELTE University, Hungary) includes a number of research areas and work processes. One of them is to reveal the history and to map the actual state of the participatory film in Hungary, concieved not just as a visual social research method, but as a wide spectrum on which there are many different examples according to the depth and nature of the involvement of the stakeholders. The academic activities in the Research Centre cover the historical and theoretical aspects of participatory film, its foreign and Hungarian antecedents, contemporary national and international examples. Following the definitions of the field and examples from abroad, the author attempts to delimit the possible sub-themes that belong or could belong to the scope of participatory film. The author also mentions some aspects that seem useful for the analysis of the research topics, specifically film examples. From these varied examples a broad repository of participatory-based film will hopefully emerge: the stakeholder spectrum.1
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The Stakeholder Spectrum. The History and the Current State of Participatory Film in Hungary

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What is the future vision of children in a Pupil Referral Unit in North London? How does Budapest’s skateboarding subculture create its own representation? What do Prague residents do on the anniversary of the Velvet Revolution? These are a few of the wide-ranging topics explored by the filmmakers of MyStreet. Launched in the early 2010s, the MyStreet project, modelled on the UK’s Mass Observation movement, expanded traditional academic forms of knowledge production to include broad social groups, researching everyday experiences and publishing the videos on a map-based website. This article presents the history and connections between MyStreet and its historical predecessor, the British Mass Observation movement of the 1930s, and then analyses some videos from the collection to examine how MyStreet enables marginalized groups to represent themselves.1
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The MyStreet Movement and Participatory Video

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<italic>Remake Bodony</italic> is a documentary film, which was collaboratively developed by the inhabitants of Siklósbodony, Hungary in 2017. The article presents an account of the film production process as an organic continuation of two prior participatory visual arts workshops using photovoice and community mural painting. The reconstruction adopts a methodological lens and interprets these participatory activities as three stages of a visual participatory action research project. Three analytic dimensions are introduced: methodological configuration, “tiny publics” (Fine 2012), and the participants’ emerging research questions – to produce an account of the collective thought process occurring in the course of filmmaking.1
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Remake Bodony: Visual Participatory Action Research and Tiny Publics

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The methodology, practical aspects and social embeddedness of participatory filmmaking and specifically the catalyst method developed by the author are presented in this study through workshop processes in Hungary. While the catalyst method is based on participatory video methodology, it uses film primarily for interpersonal communication, and its main goal is the use of the camera as a group cohesion and intergroup catalyst. The method addresses the representation and self-representation of participants along social fault lines through filmmaking, it is based on the principle of dialogue and aims at community building and participation. The method is hopefully applicable in other countries, as the democratising potential of participatory filmmaking for at least partially redressing existing inequalities can be utilized in other locations as well.1
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The Camera as a Social Catalyst

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This paper presents a participatory film intervention focused on young people, which was held within the framework of a grant coordinated by the Minor Media/Culture Research Centre and took place in the form of a summer camp in 2021. After revisiting some historical examples and definitions of participatory film, the author focuses on the concept of displacement as used in film theory and psychology, which he attempts to redefine and thereby reverse its negative connotations. The author analyses the catalyst method, one of the various forms of implementing participatory video as a visual research method, which was the one used in the research described here. The participatory film methodology based on the camera-as-catalyst is meant to foster inter-group collaboration through camera use in order to achieve a free performance and interplay of identities and ultimately to strengthen social cohesion. Beyond the emancipatory intent, the diachronic and synchronic case studies are also linked by the fact that most of the projects were also collaborations with young people, as was the case in the Minor Media summer camp. In the final section, the author analyses the films made by the young people in terms of their relation to contemporary popular culture and the performance of adolescent identities defined by liminality.1
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Displacements. Contexts for a Participatory Media Project

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You-Too, a newly developed teaching and learning methodology in mental hygiene for college-age students, focuses on individual needs and uses their motivational power instead of trying to solve perceived or real social problems. This paper presents the theoretical background and main features of the method, as well as the anthropological observations we made during its operation.1
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You-Too: Mental Hygiene Methodology for College-Age Students

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Since the turn of the 2000s, the institution of the museum has become increasingly open and participatory, with an emphasis not only on engaging the public, but also on active involvement, community empowerment and shared knowledge creation. The resulting process, in which the museum adapts new methodologies to its toolkit, entails the introduction of participatory video. In this article, the author examines how participatory video can be used as a museum pedagogical and/or method of mediation. Through selected examples, she presents the methodology of participatory filmmaking and its adaptations in museums, analysing the project <italic>The Living Cultures: Decolonising Cultural Spaces</italic> (2020). She also presents two participatory filmmaking museum sessions in Hungary: the <italic>Participatory Filmmaking Camp</italic> of the Hungarian Jewish Museum (2015) and the <italic>MyStory</italic> pilot project of the Sopron Museum (2018).1
</abstract>

Participatory Video in the Museum

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<italic>The House is Black</italic> is a lyrical documentary by a modernist Iranian poet and filmmaker, Forough Farrokhzad. It is a kind of symbolic visual poem about leper patients of a leprosarium in Iran made in 1962, which transcends time and place. This paper describes the ways in which the emphasis on the human body, references to historical and religious sources, and the use of the Biblical verses replace conventional interviews to create a narrative in the film. Utilizing Gilles Deleuze’s concept of affect, the paper analyses the camera’s focus on hands and feet, in contrast to absent facial expressions, which engages the audience.
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The Power of Close-ups and the Poetics of Silence: <italic>The House is Black</italic> by Forough Farrokhzad

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Carlos Saura’s “pure musicals,” as he calls them, are highly based on the formal properties of the image and the expressive use of light in a minimalist scenic space. Although, they have not been declared screendance pieces (as per Rosenberg 2012), which conjoin rhythmic body movements with screen-based, technologically mediated methods of rendering, they are full-fledged screendance examples, being hybrid, symbiotic, and integral (Richard James Allen, 2006). This article concentrates on Saura’s musicals from 2005 onwards – <italic>Flamenco</italic> (1995), <italic>Iberia</italic> (2005), <italic>Fados</italic> (2007), <italic>Flamenco Flamenco</italic> (2010), <italic>Argentina</italic> (<italic>Zonda, folclore argentino</italic>, 2015) and <italic>Jota de Saura</italic> (2016) – particularly the immersive mediation operated through the use of live video feed as an intermedial sensorial device. Saura’s silky, glossy, and lustrous images form an optical-haptic continuum. The twofold bodies, the digital doubles and the flesh-and-bone act as inducers of crystallization in Gilles Deleuze’s perception of modern cinema (1985), inasmuch as they interact and alternate in a cinematic flux, forming a circuit. Thus, an image of a recorded stage performance enters into a relationship with cinema, a medium already endowed with reflective features, producing the crystallization of these screendance films in all their Saurian immersivenness and sensoriality.
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Dance and the Mediated Immersive Flux in Carlos Saura’s Musical Hybrids with Live Feed

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The article discusses <italic>The Lobster</italic> (2015) by Yorgos Lanthimos in connection with the concepts of transcendence and immanence, morality and ethics. This film is a dystopia that critically reveals the relationship between modernity and morality and draws attention with its objections to transcendental moral values. Therefore, in this study, the film is the subject of a discussion mainly focusing on the loss of control of modern individuals over their own lives under the pressure of transcendent values and moral systems that produce hierarchy. The film is evaluated on the axis of Spinoza’s approach to immanence ethics. The distinction between morality and ethics, which stands out in Spinoza’s philosophy of immanence, and the association of morality with transcendence and ethics with immanence form the basis of the analysis of the film. Criticisms of transcendence and morality are hidden in the ironic style that is based on Cartesian oppositions such as nature–culture, good–evil, mind–body, woman–man, rule-illegal, similarity–difference in the film. In addition, the emphasis on the lack of emotion in the film is an important part of the critical style of the film in terms of the role that Spinoza assigns to the affects in the context of activating the conatus.
</abstract>

Immanence, Ethics and Dystopia in <italic>The Lobster</italic> by Yorgos Lanthimos

AHEAD OF PRINT

Volume 24 (2023): Issue 1 (November 2023)

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Acta Universitatis Sapientiae, Film and Media Studies

 Film and Media Studies publishes papers in English in various fields of Film and Media. The printed and online versions of the journal are identical.   Acta Universitatis Sapientiae, Film and Media Studies was founded in 2009 and since then has published one or two issues annually. The Executive Editor of the journal is Professor Ágnes Pethõ, assisted by Lecturer Melinda Blos-Jáni. The journal has an international editorial board comprising prestigious scholars within the field coming from Romania, Hungary, The United Kingdom, Italy, Germany, The Netherlands, Norway, China, and The United States. It operates on a system of double blind peer review and welcomes original, previously unpublished research articles by scholars from all over the world.   The journal publishes articles addressing the most exciting questions emerging from recent researches within the field of film and media studies, and its mission is to promote works of promising young researchers working on their PhD theses or on post-doctoral projects alongside prominent scholars and internationally acclaimed authors in the field of film and media studies. Throughout the years, the journal has disseminated results of several major research projects executed at the Sapientia Hungarian University and has also published selections from papers written for the widely acclaimed international film and media studies conferences convened by the editors and organized by the Film, Photography and Media Department of the Sapientia Hungarian University in Cluj-Napoca (Romania).   The journal publishes articles in all areas of film and media studies. Within this general area, however, we there is a special emphasis on the following topics either from a theoretical point of view or in the form of in-depth case studies:    newest trends in world cinema and the cinemas of Eastern Europe,   questions regarding intermediality or media convergence in cinema and new media,   the relationship between image, body and sound in moving images,   the relationship between fiction and reality in cinema,   moving images in the context of the called "post medium" condition.      Rejection Rate    30%      Archiving   Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections.   Plagiarism Policy   The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process.   Article Processing Charge (APC)   The journal does not have article processing charges (APCs) nor article submission charges. 