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Narration in the Fiction Film
... Ahora bien, la construcción de la mirada no solo depende de los conceptos teóricos anteriormente revisados, sino que, de igual modo, cobran gran importancia las estructuras narrativas y los elementos fílmicos utilizados por ambas cineastas. Para profundizar en el aspecto narratológico utilizaremos los enfoques teóricos de Bordwell (1985), Bordwell et al., (2019) y Flanagan (2012. ...
... Para Bordwell et al., (1985Bordwell et al., ( , 2019 los filmes no solamente cuentan historias, sino que lo hacen manipulando el tiempo y el espacio para construir una experiencia particular. La estructura clásica del cine, típicamente organizada en inicio, desarrollo y conclusión, que caracteriza al cine de Hollywood, establece una mirada coherente y lineal. ...
This paper analyses the films Camila by María Luisa Bemberg (1984) and La Niña Santa by Lucrecia Martel (2003) from a feminist perspective, emphasizing the problem of the gaze. The article contextualizes the cultural and social spheres in which both films emerged and defines the term gaze in film language, relying mainly on Mulvey’s theory (1989) and some later developments by feminist theorists. A comparative analysis addresses the narratological and aesthetic differences of both filmmakers. Camila uses a more classical and melodramatic approach, while La Niña Santa adopts a more elliptical and sensorial style. These differences are manifested in the way the protagonists exercise their gaze. In Camila, the protagonist defies social norms by pursuing her freedom and autonomy, while in La Niña Santa, Amalia assumes an ambiguous gaze that navigates between innocence and desire. The findings reveal that despite these formal differences, both films present a feminist gaze that reconfigures the traditional role of women as passive objects of desire, giving them the capacity to observe and actively transform the world, challenging patriarchal structures.
... Close Textual Analysis: Formalist Film Theory is well-suited for close textual analysis of individual films, where scholars examine the formal elements of a film in detail to uncover layers of meaning and significance. For example, a study analyzing the use of colour and composition in a specific scene to convey emotional subtext would be utilizing a formalist approach (Bordwell, 1985). ...
... It examines how narratives are constructed, presented, and interpreted in films, emphasizing the role of plot, character development, themes, and narrative techniques in shaping the viewer's experience. According to Bordwell (1985), Narrative Theory posits that the narrative structure of a film influences the audience's engagement, understanding, and emotional response to the story being told. ...
"Film Production: Video Encoding Formats, Theories and Aesthetics" by Timothy Ekeledirichukwu Onyejelem offers an in-depth exploration of the intricate world of film production, focusing on the technical and theoretical frameworks that underpin video encoding formats. This book examines how different encoding formats influence the aesthetic and narrative structure of films, providing a critical analysis of the interplay between technology and creativity. Onyejelem in this book discusses the evolution of video formats, their impact on production techniques, and the implications for filmmakers and audiences alike. The book explores different theories of film and provides insights on how they can be applied in film and multimedia studies. The adaptation of Onyejelem & Aondover’s (2024) “Digital Generative Multimedia Tool Theory (DGMTT)”, and Onyejelem’s (2020) “Teno Proactive Communication Model for Job Creation in Nigeria” as film theories stand out as the book’s major contribution to the ever-evolving world of film and multimedia scholarship. Through a combination of theoretical insights and practical examples, the author emphasizes the importance of understanding encoding formats as integral to shaping the visual language of cinema. This work serves as an essential resource for students, filmmakers, and scholars interested in the convergence of technology, production practices, theories, and film aesthetics in the digital age.
... The elder artist's memories and regrets are juxtaposed with the young woman's aspirations and uncertainties, creating a dynamic interplay between past experiences and present realities. This narrative approach reflects David Bordwell's (1985) theory of cognitive film studies, which suggests that films can manipulate temporal structures to reflect the subjective experience of time. By intercutting between the two storylines, Hong Sang-soo creates a sense of temporal fluidity, where the past is not a distant memory but an active, living presence that shapes the characters' present experiences. ...
... Memories dynamically interact with present perceptions (Bergson, 1911), a key aspect of Deleuze's crystal-image. Instead of using traditional flashbacks, the film uses dialogue and character interactions to evoke memories, creating a continuous temporal flow that mirrors real-life reminiscence (Bordwell, 1985). ...
... 2023. 12 Bordwell;Thompson, 2017;Corrigan;Barry, 2012. 13 Altman, 1992Altman, , 1980Chion, 1994. ...
... Bordwell; Thompson, 2017, p. 63, ênfase no original. 49 Ver a página de internet The Art of the Title, disponível em: http://www.artofthetitle.com/title/sherlock-holmes. ...
Este livro é composto de textos de autoria de eminentes pesquisadores, traduzidos por membros do Grupo de Pesquisa Intermídia: Estudos sobre a Intermidialidade. O volume se inicia com um texto de Claus Clüver, professor emérito da Universidade de Indiana, que faz uma síntese crítica dos estudos das relações entre literatura e as outras artes e mídias. Os textos que se seguem, divididos em três seções – Cinema e adaptação, Palavra e imagem e Transmidia(lidade) –, discutem e ilustram procedimentos intermidiáticos como, por exemplo, a tradução, a écfrase, a transmidialidade, a transposição, as referências intermidiáticas e a combinação das mídias.
... With respect to picture stories, there are reasons why they may afford more ability to represent and discuss causality than texts that are grounded in practices of the production of visual narratives. The production of visual narratives follows conventions that are intended to make it easy for viewers to understand the causal structure of a narrative (Bordwell, 1985). For example, filmmakers and graphic illustrators craft the depiction of actions across camera shots and panels such that there is a continuation of an action across them that depict the same event. ...
... A picture causality privilege hypothesis assumes that picture versions afforded causal processing than the text version. This is based on the assumptions that pictures are perceptually salient (Cohn, 2020) and the evidence that pictures have privileged access to semantic knowledge relative to text (e.g., Bajo, 1988;Potter & Faulconer, 1975;Seifert, 1997) and the use of conventions that highlight causality (e.g., continuity of action across images; Bordwell, 1985). This hypothesis predicts that there would be more causal words in the picture versions than the text versions. ...
We often talk about our narrative experiences with others. For example, we might talk about the latest TV show or book in a series with friends. How does the media of a narrative (text, picture story) affect how we talk about it? Despite the fact that narratives can be experienced across different media, few studies have addressed the impacts of varied media. This study explored similarities and differences in how narratives are experienced across text and sequential picture stories. Picture and text versions were used for the same stories. Participants (n = 132) engaged in a think-aloud task at specific story units and provided ongoing think-aloud responses while reading or viewing. Natural language processing analyses were then conducted on the think-aloud responses. Results indicated that participants produced more words reflecting the internal states of characters and causality when reading than when viewing picture stories. Conversely, they produced more place words when viewing picture stories than reading text. Implications for theory and future directions are discussed.
... The first layer, which is based on Minotour and WikEar, is rooted in the field of intelligent narrative technologies (INT). Although it is unique in its approach on the technical side, it is firmly based on the narrative theory developed in [28], [6] and others. The second layer is motivated by previous semantic relatedness measures, such as those described in [8]. ...
Virtual globes have progressed from little-known technology to broadly popular software in a mere few years. We investigated this phenomenon through a survey and discovered that, while virtual globes are en vogue, their use is restricted to a small set of tasks so simple that they do not involve any spatial thinking. Spatial thinking requires that users ask "what is where" and "why"; the most common virtual globe tasks only include the "what". Based on the results of this survey, we have developed a multi-touch virtual globe derived from an adapted virtual globe paradigm designed to widen the potential uses of the technology by helping its users to inquire about both the "what is where" and "why" of spatial distribution. We do not seek to provide users with full GIS (geographic information system) functionality, but rather we aim to facilitate the asking and answering of simple "why" questions about general topics that appeal to a wide virtual globe user base.
... Unul din principalii cercetători contemporani care s-au dedicat problemei studierii filmelor artistice este istoricul și teoreticianul cinema american David Bordwell. În 1985, acesta a publicat o lucrare de referință pentru domeniul studiului cinematografiei, și anume Narration in the Fiction Film [7]. Obiectivul principal al studiului său era de a construi o teorie despre felul cum filmele, prin operațiunile lor stilistice, crează spectatorului senzația de înțelegere și însușire a istoriei relatate. ...
The film plays a significant role as a reflection of evolving societal trends and cultural mirrors. Our synthesis supports the idea that films, when analyzed within their context using historical research methods, can serve as historical sources. Analyzing films allows for an understanding of the specific context of the period, people’s way of life, and major social processes. Based on the works of Western researchers such as Siegfried Kracauer, Christian Metz, Gilles Deleuze, Laura Mulvey, Carol J. Clover, Marie Michel, David Bordwell and Kristin Tompson, this synthesis highlights various interdisciplinary approaches on how we can use the film as historical sources from different perspectives: film theory, psychoanalysis, semiotics, gender representations etc. Ultimately, we underscore the importance of perceiving films as historical documents and employing interdisciplinary methodologies to decipher their true meanings. Through such nuanced analyses, films not only provide glimpses into the past but also foster a comprehensive understanding of history.
... Continuando con la tónica de la sección anterior, hay una relación estrecha entre la ironía como recurso semántico y las diferentes funciones del lenguaje, lo cual comprueba su prevalencia entre los comentarios estudiados. La ironía conlleva una plasticidad semántica que le permite ser usada en diferentes instancias (Bordwell, 1985). Esto le permite ser utilizada en comentarios que buscan aludir al absurdo, por ejemplo, o en otros que plantean críticas políticas más directas. ...
Este libro ofrece un análisis de la conversación digital ciudadana en redes sociales durante la pandemia por COVID-19, tomando la plataforma Facebook como espacio público clave para la interacción social y el activismo digital en el 2020. A lo largo de sus 5 capítulos, escritos por personas autoras de diferentes países, se analiza la expresión de sentimientos, dudas, demandas y críticas ciudadanas sobre uso de mascarillas, mitigación de contagios, vacunación, salud mental y respuestas humorísticas ante la llegada del virus a territorios nacionales.
Considerando la atención a futuras crisis sanitarias, el valor de los insumos compartidos en este libro radica en su capacidad de ofrecer un panorama integral y contextualizado sobre el rol desempeñado por las redes sociales y la comunicación digital ante retos en la gestión de la salud pública. Estas contribuciones subrayan la necesidad de utilizar las plataformas digitales de manera oportuna para informar, educar y movilizar a la ciudadanía, así como para comprender y abordar las controversias que pueden surgir durante los períodos extendidos de incertidumbre, brindando con ello orientaciones básicas para desarrollar mejores procesos de comunicación y mejores interacciones con y entre la ciudadanía. Se propone que el contenido de este libro visualice la importancia de reflexionar en torno a las redes sociales y cómo estas reflejan una de las formas actuales en que la sociedad contemporánea se relaciona consigo misma y con la información.
La obra es consecuencia de los estudios que realiza la ?Red temática para la Evaluación de Procesos de Gestión pública en pandemia y Participación ciudadana Evaprop (2022-2025)?, que forma parte del Programa Iberoamericano de Ciencia y Tecnología CYTED (www.cyted.org/evaprop)
... Identification with characters is closely associated with empathy and entails perceiving, understanding, and emotionally responding to characters' feelings (Zillmann, 1991). Bordwell (1985) argued for the importance of agent-based schema in making sense of movies by focusing on characters' cultural roles, in the present case, parent care-giving responsibilities, children's testing of norms, and the instruction of personal moral characteristics. Transportation evokes associations with travel into the film's storyworld and is associated with an amplification of the emotional quality of the experience (Green and Brock, 2002). ...
This evolutionary developmental study employed an experimental recursive narrative ecological niche, comparing scaffolded mother–child (5-year-old) pairs to unassisted controls as they independently viewed and discussed a realistic fictional family video depicting a father–daughter emotional conflict over the girl’s risky behavior, which violated harm/care and fairness/justice moral foundation norms. A microgenetic analysis was conducted on a selected variant pair that demonstrated high adaptive fitness in the niche by employing developmentally advanced cooperative scaffolding tools. The conversational ecosystem phase was characterized by repeated maternal theory-oriented “why” questions and coordinated child causal responses, forming a joint epistemic investigation that facilitated the child’s moral understanding of the characters’ responsibilities and motives. The pair used quasi-justice procedures to gather evidence, judge, and construct moral attributes for the characters. Their conversational mechanism was supported by mutual mindreading, mental time travel, and empathic communications, as they interacted simultaneously with each other and the story characters. A narrative ecological scaffolding theory emerged, establishing a standard for cooperative epistemic scaffolding between the mother and the child. Future training programs should utilize the Zone of Proximal Development method to instruct similar parent–child pairs.
... That is, a structure that is not just sequential but goes through a process of reveals, escalations and transformations but without losing its logical through line. Part of a successful narrative's construction in this case is space left for audience inference, breathing space and guess work as they collate and cross reference information ready to be applied to the future events of the plot (Bordwell 1997;Flanagan 2009;Ryan 2008). As Kauffmann states, drama is 'the emotions it evokes in the spectator ' (1992, 52) and those emotions are only stirred so that they can be clarified later in the process of catharsis (Golden 1962). ...
Video Games are composites of interlocking structures that collectively create meaning for the player to investigate and act upon. The most apparent form of meaning for the player is the narrative story or context. However, the narrative in a video game is structured and contextualized itself by the inherent form of the video game. This range of meaning making tools in the medium is both daunting and exciting. To understand the application of narrative better, designers, critics and academics need to be able to distinguish and understand the high-level structural layers that affect and support it. This paper offers a focused review of the relevant literature, explanations of key terms and diagrams and an illustration demonstrating the relationships of these structural layers.
... Nepříliš překvapivě tyto obory procházely podobným procesem v předchozích dekádách: Caldwellův slovník spojený s televizualitou obsahuje mnoho estetických soudů a hodnoticích pojmů a slovních spojení: "prestižní", "distinkce", "exces", "stylistické přikrášlení" (stylistic embellishment), "patos", "slast", "sofistika", "zkrášlení". David Bordwell (1985, 1989, Kristin Thompson (1988) Theatre (1956Theatre ( -1974, The Kraft Television Theatre (1947-1950, The Wednesday Play v divadelních kulisách (Creeber 2013: 19 (Caldwell 1995: 49-52, Mittell 2010. Dlouhé záběry a jízdy mohou konotovat spektakulární filmy, ale také třeba artovou kinematografii s jejím pomalým vyprávěním (Bordwell 1985: 203-233 (1964)(1965)(1966)(1967)(1968)(1969)(1970), Play for Today (1970)(1971)(1972)(1973)(1974)(1975)(1976)(1977)(1978)(1979)(1980)(1981)(1982)(1983)(1984) atd. ...
Téma této disertační práce představuje teoretický koncept cinematizace televize a
jeho významy a užití v diskurzu oboru televizních studií, který jej pomáhá udržovat v
mediálním oběhu. Cílem práce je zmapovat koncept v diskurzu televizních studií a poukázat na jeho interpretace a funkce. Metodologicky se opírám o kritickou diskurzivní analýzu, respektive přístup Normana Fairclougha (1992), který je doplněn o historickou stylistickou analýzu Jeremyho G. Butlera (2010). Prameny v této práci představují odborné texty o cinematizaci televize. Zároveň analyzuji vybrané televizní pořady k ilustraci toho, jak cinematizace vypadá v psaném odborném textu a jak se projevuje audiovizuálně, což vede k ucelenému pohledu na problematiku.
Propojením textů (psaných a audiovizuálních), jejich diskurzivních praktik
a obecnějších kontextů pomocí kritické diskurzivní analýzy chci dosáhnout komplexního vyobrazení a prozkoumání vybraného konceptu, který se běžně objevuje v odborné literatuře mimo ni, a není vždy zohledněn kriticky. Práce sleduje genealogický vývoj konceptu cinematizace televize v diskurzu televizních studií, jak se proměňuje a jaké nové významy a přístupy se v něm objevují. Zároveň zohledňuje užití termínu cinematičnost ve filmové teorii, což cinematizaci televize předcházelo. To nabízí pochopení některých konotací konceptu a zároveň je tím problematizováno jeho užití v televizních studiích. V závěru práce předkládám teoretický nástroj negociace pro analýzu cinematického televizního stylu.
... Some of these scholars have focused on the technical aspects of parametric design, examining the algorithms and computational techniques that are used to generate complex forms and structures [82][83][84][85]. Others have explored the aesthetic and theoretical foundations of Parametricism, examining how this style relates to broader trends and debates within the field of architecture [86][87][88][89]. Many of these scholars have also considered the practical implications of Parametricism, examining how this style is used in the design of buildings and other structures and how it impacts the built environment [90][91][92]. ...
Architectural styles have evolved, with distinct periods marked by unique styles that reflect broader artistic movements. Despite extensive research on traditional and contemporary architectural styles, there remains a gap in understanding the distinctiveness and contributions of Parametricism as a 21st-century architectural style. This study aims to critically examine the emergence and development of Parametricism, aiming to highlight whether it represents a fundamental evolution in architectural thought and practice or primarily a methodological innovation. Through a comprehensive investigation of its formal characteristics, historical roots, and relationships with other architectural movements, this study seeks to discuss Parametricism’s unique contributions to modern architecture. This research is crucial as it addresses the underexplored area of parametric design’s impact on architectural theory and practice, offering a critical analysis that situates Parametricism within the broader context of 21st-century architectural styles. By clarifying the definition and position of Parametricism, this study aims to enrich both the state of the art and the state of practice in the field, providing valuable insights for scholars, practitioners, and students of architecture. Through this critical assessment, the paper contributes to the ongoing discourse on the evolution of architectural styles, highlighting the originality and significance of Parametricism in contemporary architecture.
... The first approach is influenced by formalism. Motivated by the Russian formalists, Bordwell (1985) trichotomizes film storytelling into fabula, syuzhet, and style. According to him, fabula stands for abstract propositions, syuzhet refers to a narrative or argument, and style refers to cinematic effects. ...
Plain language summary
This study examines how the protagonist-led causal relationship segments linear and non-linear Hollywood narrative films and how performative clues signify narrative unit boundaries. In order to achieve the research objectives, this study first proposes a Hollywood narrative film segmentation method, and then applies the method to small-scale Hollywood films with different running times and narrative techniques to test its effectiveness. The test result shows that the proffered method allows the segmentation of Hollywood narrative films with linear or non-linear sequences and the study of narrative techniques. The new method also contributes to the literature on the cognitive study of narratives by disclosing how the changes in visual, verbal, and aural performative clues form the boundaries between various primary and secondary narrative units. However, it should be admitted that this study has its limitations. The proposed segmentation method has only been tested on a small scale on linear and non-linear Hollywood narrative films. Future research needs to conduct large-scale tests on linear and non-linear Hollywood narrative films, especially non-linear films that unfold through various narrative techniques such as backstory, flashback, foreshadowing, and flash-forward.
... Such empathetic activity is ethically significant because it "can provide new insights into the experience and motivation of others, and can thus lead us to a new awareness of or alteration in our existing normative judgements" (Dadlez, 1997, p. 191). What is more, "in coming to see things as [screened characters] see them and to feel as they do we gain a broader perspective on the world, 1 Recent noteworthy monographs include: Bruun Vaage (2016), Kupfer (2021), Moss-Wellington (2021), Plantinga (2018), Sinnerbrink (2016). 2 See the following: Bordwell (1985), Branigan (1992), Grodal (1997), and Plantinga (2009), Plantinga andSmith (1999), Smith (2003), Smith (1995Smith ( / 2022) and Tan (1996). Two other (non-cognitivist) prominent character-centered works of film theory/philosophy include Michaels (1998) and Wilson (1986). ...
How does screen acting contribute to moral understanding? The most influential narratological theories of characters have been predominantly formalist in nature, focusing almost exclusively on attributed personality traits, behavior, dialogue, and/or visual appearance as the primary means of determining screened beings’ expressivity. Consequently, such theories fail to account for the aesthetics of the embodied performer, relegating acting to the subsidiary function of dramatic enaction rather than a necessary component of narration. A more complete account of film or television narration must consider the poetics of performance – the means by which actors’ expressive choices enable viewer comprehension and moral engagement. Indeed, concentrating primarily on character appearance, action, behavior, and dialogue gives us an incomplete picture of a work’s moral significance. Attending to such manifest content of character representation overlooks both its enacted form and certain aspects of its latent content. Therefore it is necessary to codify some of the means by which screen acting’s material elements can lead to moral appraisal. Drawing on certain key tenets of embodied cognition, we can schematize a conceptual vocabulary that enables us to attend to an actor’s expressive body and apprehend how this physicality draws us toward (or away from) the characters they represent. Of particular interest are the moral facets of actors’ appearances, expressions, gestures and postures, movements, and voices. These dimensions fundamentally inform how we might describe an ethically laden experience, evaluate characters as moral agents, and develop an embodied responsiveness to a work’s moral solicitations.
... David Bordwell (2007) was correct in speculating that different media activate distinct domains of storytelling. This occurs because the dimensional form of the media is directly reflected in the way the user and author relate to it and in the final expression of the media product. ...
This study delves into the distinctive dimensions of storytelling across different media, focusing on literature, cinema, and videogames. It examines how users interact with each medium and how the nature of the medium shapes the relationship between the user and the narrative product. In literature, the reader engages in a process of imagination, constructing the narrative based on the author's cues. Cinema presents a visual and auditory spectacle to the spectator, offering a reception of the story unfolding on screen. On the other hand, videogames empower the player to control and interact with the digital environment, shaping the narrative through their actions. The analysis highlights the individual characteristics of each medium, from the linear narrative of literature to the interactive storytelling of videogames. It also explores the collaborative nature of filmmaking and the evolving nature of interactive videogame worlds. By understanding these dimensions and their impact on user engagement, this study provides insights into the diverse ways in which storytelling manifests across different media forms.
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... It has even been argued that the camera performs the function of the narrator, which is indeed a tempting suggestion. However, this position has already been disputed and rejected by scholars, such as Celestino Deleyto (2014 [1996]) and David Bordwell (1985). According to Deleyto, the idea that the camera narrates cannot account for the impact of editing, nondiegetic sound, and aspects of the mise-en-scène (2014 [1996]). ...
This doctoral thesis is an interdisciplinary study of cinematic Rome as a source of various semantic profiles of the city. It is concerned with the contemporary cityscape of Rome in what has been aptly termed the American “tourist film” in the literature. The study focuses on five films set in Rome: When in Rome (dir. Steve Purcell 2002), When in Rome (dir. Mark Steven Johnson 2010), Eat Pray Love (dir. Ryan Murphy 2010), To Rome with Love (dir. Woody Allen 2012), and Love & Gelato (dir. Brandon Camp 2022). It aims to establish how and to what extent the dominant cultural meanings surrounding Rome are reiterated in the mentioned films. Specifically, it focuses on what is known as “Destination Italy” (Malia Hom 2015), or what is narrowed down to “Destination Rome” in the present context, a powerful tourist imaginary that presents Italy as the ultimate tourist destination. The present study employs an interdisciplinary methodological approach. It relies on a close reading of the selected films in order to establish how/what city scripts are used to transform Rome into a cinematic cityscape. The term cityscape serves as the common denominator of the study, functioning as an umbrella term that encompasses various strands of scholarly discussion concerning (cinematic) cities.
... Thoughts/ideas overflow through cinematographic images in movies. As a result of this overflow, thoughts/ideas on the conceptual plane are stretched and reach an unthinkable dimension (Bordwell, 1985;Bordwell, 1979;Gürkan, 2015). While the atmosphere created in both films depicts a dystopian world, light, space, sound, and plot are essential in describing how the world entered a new order in a period when it was deprived of energy resources. ...
This chapter is based on the claim that the energy crisis, frequently on the agenda for the last 20 years, has become one of the main issues of print and visual media. This study discusses two films, especially in 2015 and after, in which popular narratives are based on energy and energy crisis. Energy and energy crisis are depicted in many TV series, fictional films, and documentaries in the 2000s and beyond. This study investigates how the energy issue and the pursuit of science, technology, and remedies that come up with this issue are depicted in popular narratives. In this context, the films April and the Extraordinary World (2015, directed by Christian Desmares and Franck Ekinci) and The Cloverfield Paradox (2018, directed by Julius Onah) were included in the study. The study analyzes how energy-themed films deal with the energy issue and how science, scientists, and technology act in the absence of energy. By emphasizing the importance of science, scientists, and technology, these films show that advancing in the footsteps of science and technology can offer a way out/emancipation when the world is experiencing energy supply problems.
... Çalışmamızın temel amacı pandemide film izleme kalıplarını araştırmak ve pandemi gerçekliğinin film izleme sıklığını, film tercihlerini, film izleme motivasyonlarını ve film seçimini belirleyen faktörleri etkileyip etkilemediği sorusuna cevap vermektir. Bu şekilde filmin bilişsel psikolojisinin ana paradigmasının testini sağlıyoruz; buna göre film alımlamasının temeli izleyicinin film bilgisi ve film deneyimidir (Bordwell, 1985). Çalışmamız izleyicilerin tutum ve motivasyonlarına odaklanıyor ve pandemiye dayanıklılık ile film tercihleri ve diğer psikolojik yapılar arasındaki ilişkiyi inceliyor. ...
Geçen yıl COVİD-19 salgını döneminde pek çok insanın hayatı birçok yönden değişti, bunlardan biri de medya tüketimi oldu. “Evde kalın” tavsiyelerinin izleyicilerin film tercihlerini, film izleme alışkanlıklarını, belirli bir filmi seçme motivasyonlarını ve medya kullanımlarının bazı psikolojik değişkenlerle ilişkisini, öncelikle yalnızlık duygusu, özsaygı ve pandemik psikolojik dayanıklılarını etkileyip etkilemediğini doğrulamak istedik. Çevrimiçi anketin sonuçları katılımcıların pandemi döneminde öncesine kıyasla daha fazla film veya dizi izlediklerini ve çeşitli türleri tercih ettiklerini gösterdi. Pandemi öncesine kıyasla yayın platformlarını daha sık kullanıyorlar ve sinemaya daha az gidiyorlar. Katılımcılar filmleri öncesine göre daha çok hem eğlence amaçlı hem de gündelik gerçeklikten uzaklaşmanın bir yolu olarak izliyor. Film seçimlerinde oyuncular, filmin konusu ve öneriler daha az önem kazandı. Kendilerini belirli bir film türünün hayranı olarak tanımlama ile pandemik psikolojik dayanıklılık arasında da zayıf ama anlamlı bir ilişki bulundu. Sonuçlar, pandemik psikolojik dayanıklılığın yalnızlıkla orta düzeyde, olumsuz yönde ilişkili olduğunu gösteriyor. Pandemik psikolojik dayanıklılığının özsaygı ile zayıf da olsa pozitif bir ilişkisi de bulundu.
This study examines the use of metaphor to convey emotions in Tim Burton’s 2005 film adaptation of Charlie and the Chocolate Factory, focusing on anger, sadness, and love. Through Conceptual Metaphor Theory and film analysis, the research explores how visual and symbolic expressions of emotion deepen character development and reinforce the story’s moral themes. Anger is represented through metaphors like “boiling rage” and “ticking time bombs,” emphasizing impulsivity and moral consequences. These metaphors highlight destructive behaviors, especially during moments of conflict. Sadness is depicted with metaphors such as “heavy stones” and “gray skies,” symbolizing the hardship and isolation faced by Charlie and his family. Conversely, love is portrayed through warm, nurturing imagery, underscoring the importance of familial bonds and compassion in overcoming adversity. The study finds that metaphors of anger and sadness dominate scenes of tension and conflict, while metaphors of love become prominent as the story progresses toward resolution. This shift aligns with moments of redemption and growth, enhancing the viewer’s emotional engagement. Burton’s visual and symbolic approach adds emotional complexity to Roald Dahl’s original narrative, creating a cinematic language that underscores empathy, resilience, and familial connections. Ultimately, the study reveals that metaphor is a powerful tool in Burton’s adaptation, transforming the film into a richly layered exploration of human emotion. These metaphors not only deepen character arcs but also illuminate universal themes, making the story resonate with audiences on an emotional level.
This chapter provides a philosophical background from which to describe the hyperorchestra, defined as a virtual ensemble that inhabits the hyperreal. It describes how Jean Baudrillard coined the concept of hyperreality, which was informed by McLuhan’s highly influential theory of media. While the theories of both authors are broad, this chapter highlights their ideas on conceptualizing Western cultural development as a process of increased virtualization, which will inform the rest of the book. From this viewpoint, it analyzes the aesthetic and philosophical foundations that emanated from the introduction of digital visual tools to cinema, with an emphasis on Prince’s theory of perceptual realism. In that realm, it explores how virtual reality, audiovisual narratives, digital cinema, performance, and hyperreality relate to each other.
Hyperorchestration encompasses a set of techniques to write hyperorchestral music as an equivalent to how orchestration relates to the orchestra. This chapter draws from the analyses from the previous chapter—supplementing them with additional ones when necessary—to demonstrate the application of the hyperorchestration techniques described. Spectralism—which greatly expanded Western orchestration—becomes a conceptual starting point from which to develop the hyperorchestration techniques as a means to provide meaning through timbre and sonic processes. Due to its virtual nature, the process of creating hyperinstruments is instrumental in shaping the sound of the hyperorchestra. Similarly, music mixing techniques are incorporated creatively as a mode of hyperorchestration. This also allows the exploration of spectral transformations as a strategy to generate spectral harmonic change that is more nuanced than traditional harmonic processes in its potential for certain narrative purposes. Hyperorchestration also enables for expanding more established orchestration processes through augmenting existing ensembles or expanding the concept of instrumental combination.
A Iconografia possui diversas formas de classificação como: pinturas, placas, esculturas, medalhas, postais, imagens, fotos, personalidades etc. Tendo como origem a palavra em grego “eikon”, seu termo possui como significado imagem e escrita, “ escrita da imagem”.
One of the remarkable qualities of television series in the era of peak TV is their capacity to engage different types of viewers over extended periods of time. Large, mainstream audiences are gripped by the rich—and often suspenseful—narratives and complex characters; devoted fan communities seek to dig deep beneath the surface of television series to understand their complexity; and traditional cultural gatekeepers—such as professional critics and academics—are increasingly taking television seriously, whether as a worthy object of critical appreciation and aesthetic interest or as a form of contemporary media of preeminent cultural significance. This chapter examines the role of music and sound in relation to these different sorts of audio-viewing practices. I propose that thinking in terms of viewing frames can help us make sense of, first, how individual viewers engage with particular television series and, second, how particular television series encourage viewers to engage in certain practices. This chapter examines three different viewing frames in relation to music and sound. Through the “casual” viewing frame, we can see how sound design and scoring work to support storytelling and narrative comprehension, assisting viewers with keeping track of the highly complex narratives that are characteristic of peak TV. The second frame considers “forensic” viewership, for which music and sound offer invested viewers intertextual allusions, clues to plot developments, and various hidden Easter eggs. Finally, the “critical” frame considers music and sound in relation to the aesthetics and critical appreciation of television.
This article examines the expansion of cinema through immersion and interactivity in exhibition spaces, such as museums and galleries, focusing on the evolution of mediation apparatuses driven by advances in digital technology. The works “The Visitor” by Luc Courchesne and “Figures in the Landscape” by André Parente exemplify hybrid cinema by blending audiovisual elements with other artistic languages, fostering interactive and immersive experiences. Drawing on authors such as Cesar Baio, Natalia Aly, and Philippe Dubois, the research explores how these technological devices reshape the relationship between the viewer and the artwork, transforming the viewer into an active participant in narrative development. The study observes that, with new digital devices, cinema transcends linear storytelling, creating spaces where moving images combine with the environment and public interaction, expanding the boundaries of “exhibition cinema” and offering sensory experiences that uniquely engage the viewer.
This chapter discusses how embodied engagement defines the process of experiencing cinematic virtual reality (CVR) and 360° moving-image content. It presents the cognitive processes involved in experiencing and engaging with CVR—the ways in which one explores the narrative space and alters the sensory scope by moving their head or body. As this process involves decision-making processes that traditional frameworks developed for screen-based media cannot account for, the chapter proposes a new theoretical model: the phenonarratology model links narrative experiences and the plasticity of the sensory scope and is built upon the argument that cinematic virtual reality experiences involve a cycle, where narrative information and audiovisual stimuli prompt decisions for changing the sensory scope and this new sensory scope provides access to a new set of narrative information.
I examine how the 1990 to 1996 Black American sitcom The Fresh Prince of Bel-Air deals with the various portrayals of the show's five Black American fathers from Philip "Uncle Phil" Banks to Marcus Stokes. I observe how their paternal roles intersect with gender, socioeconomic status, social status, and age.
Sinemada anlatı, bir hikâyenin görsel ve işitsel öğelerle izleyiciye aktarılması sürecidir. Bu süreç, sinemanın yalnızca eğlence aracı olmanın ötesine geçerek, izleyiciyi derinlemesine düşündüren, duygusal bağlar kuran ve onları farklı dünyalara taşıyan bir araç olarak kullanılmasıdır. Sinema, bu amacına ulaşmak için çeşitli anlatı tekniklerinden faydalanır ve bu tekniklerden biri de katmanlı öykü anlatımıdır. Katmanlı öykü anlatımı, sinemada izleyiciyi hikâyenin derinliklerine çekmenin ve onları zihinsel bir meydan okumaya davet etmenin etkili bir yoludur. Bu anlatım tekniği, zamanın doğrusal olmayan kullanımı, çok katmanlı hikayeler ve izleyiciye bilinçli kafa karışıklığı yaratma gibi unsurlarla karakterizedir. İzleyicinin filmle daha derin bir bağ kurmasını sağlamak amacıyla, olay örgüsü birden fazla düzlemde, çoğu zaman birbiri içine geçmiş yapılarla sunulur. Bu teknik, izleyicinin aktif bir katılımcı olmasını ve hikâyenin gizemlerini çözmeye çalışmasını teşvik etmektedir. Bu makale, katmanlı öykü anlatımının unsurlarını Christopher Nolan'ın yönetmenliğini yaptığı "Inception" (Başlangıç) filmi üzerinden incelemektedir. Inception, katmanlı öykü anlatımının çarpıcı örneklerinden biridir ve izleyiciyi rüya içinde rüya konseptiyle çok katmanlı bir hikayenin içine çeker. Bu özellikler, izleyicinin hikayeye daha derinlemesine bağlanmasını ve olayların ardındaki karmaşık anlamları keşfetmesini sağlamaktadır.
This chapter examines the cognitive stylistic features of the voiceover narration in the first television series adaptation of The Handmaid’s Tale (MGM & Hulu. The handmaid’s tale (TV series, series 1), 2017). Through analysis of voiceovers and corresponding production choices in the adaptation of the book within the series, this chapter explores, first, how the different modes of communication—both choices of visual production such as shallow-focus shots, and linguistic features such as you-address and container metaphors—combine to show June/Offred’s split perspective; and second, how these stylistic elements work to foreground the series’ key themes of imprisonment, objectification and surveillance.
This article brings film/media theory into Southeast Asian research through a revisionist queer approach. It contains two goals: addressing some recent developments about queer imag(in)ing in Thai media whilst reappraising the fundamental question of spectatorship via screen theory. Taking into account the more general issue of media specificity and the particular textual device of identity/gender-switch in several recent Thai television serials, we propose the notion of wer viewership: a mode of viewing practice that features viewer-text interaction through the perceptual-cognitive processes, and is characterised by wer /excessive aesthetics, multiple meanings, and diverse pleasures. Resonant with camp reading, wer viewership underlines how the viewer actively makes sense of the ambiguities about gender, particularly those along the extra-/diegetic interface. We use Thai soap opera Shadow of Love to illuminate the wer /excessive aesthetics rendered through its identity/gender play bordering on the extra-/diegetic divide, and the enhanced pleasures and meanings thus available to its extradiegetic active viewers. We stress, though, the expanded queer imag(in)ing in Shadow is not of total free interpretation, but is animated in relation to both the evolving discourses about gender/sexuality in Thailand, and the popularising homoerotic Boys Love (BL) media across Asia in recent years.
Em um passeio por diferentes práticas de roteiro do cinema brasileiro contemporâneo, o livro Roteiros: Da criação como experimentação detém-se sobre a experiência do roteiro cinematográfico enquanto função mais do que enquanto formato. Propõe, pelo plural do termo (Roteiros), olhar para a ferramenta como um recurso à experimentação. Por sua natureza de passagem, os roteiros oferecem um modo de pensar (e de criar) transitório e, por isso mesmo, propulsor. Algo que “é” ao mesmo tempo em que projeta e inspira “serás”.
Os roteiros, como modos de pensar e de fazer, dialogam com diferentes momentos da criação e se reconstroem nos gestos de dar a criar ao espectador. Constituem, sobretudo, um recurso à testagem de hipóteses, e lembram-nos da impermanência e do inacabamento das narrativas (tantas e diversas) que habitam o mundo e que configuram uma das tantas matérias da criação dos sujeitos e dos roteiros.
Como molas, os roteiros tencionam, incitam e projetam a criação de filmes possíveis e, por vezes, impossíveis. Em sua dinâmica móvel, ajudam o filme a manter-se vivo em meio ao processo (geralmente longo) de feitura. Recontam-se, restauram-se e reescrevem-se a cada nova leitura (versão), como um modo de reativar a experiência de imaginar e de fazer imaginar filmes.
Esse modo de olhar para o roteiro vem para este estudo, sobretudo, da observação de diferentes relatos de processo e estratégias de criação de cineastas brasileiros, como Anna Muylaert, Eliane Caffé, Leonardo Mouramateus, Marcelo Gomes, Karim Ainouz, Alê Abreu e Cao Guimarães, entre outros. O recorte do roteirista-diretor deu-se diante do desejo de acompanhar, pelos arquivos da criação desses cineastas, o desdobramento do roteiro ao longo do processo de criação – antes, durante e depois das filmagens – entretanto com enfoque prioritário para os modos de fazer do roteiro e em busca do que lhe é intrínseco.
A exemplo de Aristóteles em sua Poética, que buscou elaborar uma teoria com base na prática de artistas do seu tempo, este livro ensaia uma elaboração teórica com base na prática de importantes roteiristas do cinema brasileiro do nosso tempo. Uma “poética do roteiro” inspirada nas práticas do cinema brasileiro contemporâneo – uma entre muitas possíveis – e que busca oferecer uma visão complementar (mais do que oposta) às bibliografias de roteiro tradicionais e àqueles interessados em estudar a criação em geral, e o fazer do cinema e do roteiro em específico.
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In exploring various practices of screenplay writing in contemporary Brazilian cinema, the book Screenplays: Creation as Experimentation focuses on the screenplay as a function rather than a rigid format. By using the plural Screenplays, it aims to present this tool as an avenue for experimentation. Due to its transitional nature, the screenplay provides a way of thinking (and creating) that is both fluid and propulsive — something that "is" while simultaneously projecting and inspiring "will be".
Screenplays, as modes of thought and creation, engage with different moments of the creative process, reconstructing themselves through gestures that allow the viewer to create. Above all, they serve as a resource for hypothesis testing, reminding us of the impermanence and incompleteness of the many diverse narratives that inhabit the world, forming part of the creative material for both subjects and screenplays.
Like springs, screenplays generate tension, provoke, and project the creation of films both possible and, at times, impossible. Through their dynamic flexibility, they help a film stay alive throughout the (often lengthy) production process. They are retold, restored, and rewritten with each new reading (version), reactivating the experience of imagining and inspiring the creation of films.
This approach to screenwriting comes from observing the process accounts and creative strategies of Brazilian filmmakers such as Anna Muylaert, Eliane Caffé, Leonardo Mouramateus, Marcelo Gomes, Karim Ainouz, Alê Abreu, and Cao Guimarães, among others. The focus on writer-directors reflects a desire to follow, through these filmmakers’ creative archives, the unfolding of the screenplay throughout the creative process — before, during, and after filming — with particular emphasis on screenwriting methods and a search for the intrinsic qualities of the screenplay.
Like Aristotle in his Poetics, who sought to develop a theory based on the practices of the artists of his time, this book attempts a theoretical elaboration based on the work of significant Brazilian screenwriters today. It offers a "poetics of the screenplay" inspired by contemporary Brazilian cinema practices — a vision among many possibilities — aimed at providing a complementary (rather than opposing) perspective to traditional screenwriting literature, for those interested in studying creation in general and, specifically, the art of filmmaking and screenwriting.
The works of Christopher Nolan, besides achieving commercial success and critical acclaim, are often singled out for their remarkable preoccupation with time. His innovative representation of time, its passage and impact, is reflected in his intransigent manipulation of temporality in his narratives. As his structures grew significantly more experimental and challenging over the years, his concern with the questions of memory, identity, conflict and existence at large grew more profound. In Dunkirk (2017), timelines, taking place in distinct spaces, converge forming a singular war-survival experience that pulls the viewer into the individual and communal intricacies of the past. In Tenet (2020), time is inverted to save humanity from a war that is worse than a nuclear holocaust. The future in such a film becomes both the enemy and the ally. The present paper closely examines the two narratives in attempt to comprehend how the manipulation of time, as a storytelling mechanic, functions to stimulate rich aesthetic experiences. Relying on David Bordwell’s conceptualisation of the viewer’s activity, the analyses follow the stories’ unfolding through various cues and constraints that trigger a set of cognitive and affective experiences. Both films are carefully made to ensure that the spectator develops a distinct viewing experience in which different schemata are conjured, modified and redrawn. In addition to their compelling intellectual demands, the works allow for a deep emotional involvement that strikes a balanced rhythm between fulfilment, excitement and a sense of urgency.
The article considers genre war cinema as a practice of commemoration. Through comparative analysis, the main characteristics and distinctive features of the film and series as actors in the space of historical memory are revealed. The study was carried out in an interdisciplinary field, using the methods of both historical analysis and visual stadies (theoretical, structural-functional and semiotic analysis of films; method of "competent observer"; comparison, generalization, synthesis). A comparative analysis of the film adaptation of Joseph Heller's novel "Catch 22" in the versions of the movie (1970) and the series (2019) is carried out. A review of approaches to the study of a military film / series in its relation to history is given. Specific visual material illustrates such features of the series as: innovativeness of social viewing practices that correspond to the “behavioral map” of a person in the information society; the novelty of technical and economic solutions of the film industry; the specific narrative strategy (a combination of horizontal and vertical construction of the episode system, a variety of plot lines, complex spatio-temporal connections between the series and their parts); elaborate psycho-dramatic effect; the viewer's sympathetic "everyday" protagonist with situational behavior and a hypothetical moral imperative; a variety of audiovisual solutions, as a rule, focused on the "human-sized" perception of both individual episodes and the picture as a whole. The conclusion is made about the importance of war cinema in the space of historical memory due to its media and intertextuality.
This chapter discusses the emotional structure of What Remains of Edith Finch, an acclaimed exploration video game. I argue that the game offers a working through of negative emotions associated with death, decay, dark family history and personal tragedies and attempts to convert them into a more appreciative outlook on everyday existence by way of eliciting emotions of wonder and awe. This occurs largely owing to the distinct visual storytelling of the game. Players are invited to suspend their instinctive puzzle-solving or sense-making operations involving the narrative mystery of the Finch family and are encouraged to enter a state of cognitive dissonance with respect to the utility and value of storytelling as a tool for thinking. In the service of these ends, the game foregrounds unrealistic enactments of the Finches’ deaths that defamiliarize visual aesthetics, embodiment and interactivity in the attempt to instil a sense of cognitive refreshment and wonder about human beings and their choices.
Blossoms Shanghai meticulously depicts Shanghai in the 1990s, illustrating the construction and function of collective memory, revealing how memory is activated and reproduced in media. The series not only recreates the lifestyle details and social changes in Shanghai post-reform and opening-up but also constructs the audience’s collective imagination of the past through specific narrative techniques and visual styles, merging individual memory with collective memory to form a widely shared social framework. This process introduces the concepts of “memory glimmer” and “prosthetic memory,” deepening the understanding of the interaction between individual and collective memory. These concepts show how the triggering of details and the recreation of historical contexts enhance emotional resonance and memory activation among viewers. Simultaneously, Blossoms Shanghai demonstrates the function of collective memory in maintaining social stability and integration, reinforcing social identity and cultural empathy among viewers by presenting shared cultural heritage and regional characteristics. This is crucial for understanding the role of collective memory in shaping social identity and cultural continuity.
In the process of thinking diegetically, the videographic practitioner is guided by the diegetic (story world) logic of the films or media works under scrutiny. As opposed to videographic approaches that extract audiovisual segments from a narrative and spatiotemporal logic, this form of videographic work engages with the constraints of the source materials’ diegetic tethers to (re)construct a story world in meaningful and productive ways. This essay seeks to explore the ramifications of such diegetic argumentation through an analysis of several videographic works: the author’s “Imagining Orphée | Orphée imaginé” (Oyallon-Koloski 2023), Catherine Grant’s “Fated to be Mated: An Architectural Promenade” (2018), Dayna McLeod’s “Speculative Queer Autoethnography: Desert Hearts” (2023), and Liz Greene’s “Spencer Bell, Nobody Knows My Name” (2022). These examples embrace the intrinsic form of their source material’s diegesis, prioritize the rhetorical impact of spatiotemporal construction, and deliberately balance the pulls between original and videographic diegetic logic through the application of precise videographic techniques. Video essayists use the formal, performative, and nonverbal options afforded by centering diegetic principles in powerful ways to shape their rhetoric.
Using examples from Swedish children’s films from different decades, this chapter studies the forms, the functions, and the implications of adopting a consistent child’s perspective in cinema for children. In the pursuit of depicting the world as perceived by a child, films such as Hugo and Josephine, The Eighth Day, and Zozo borrow aesthetics from art cinema, resulting in a narrative and cognitive ambiguity unusual for children’s cinema. For instance, without marking the shift from outer to inner reality, dreams, daydreams, imagination, and hyperbole are inserted into the story. Also, sound and image are occasionally asynchronous, highlighting thoughts and emotions in a sophisticated manner. Furthermore, the rendition of passing of time is often distorted by fragmentation and extension, portraying a child’s subjective sense of time. Taken together, the film techniques employed in these films form a cinematic mode referred to as a child’s expressive realism that emerged in Swedish children’s cinema in the late 1960s, at a time when novel notions of the child and child culture were developed. By combining the theoretical frameworks of childhood studies and cinema studies, the chapter argues that the rendering of a consistent child’s subjective perspective in film works well to highlight children’s subordinate position to adults in our culture. Consequently, it is argued, multifaceted and ambiguous children’s films carry a great potential to affirm children’s rights to both experience and express the whole range of possible emotions, as well as to acknowledge children as capable filmgoers.
Television series advance to transmedial overall concepts, so that serial narratives no longer unfold only temporally, but also spatially. This premise is accompanied by questions about how television series spatialize themselves across media boundaries and whether and in what form temporality changes. Transmediality can be assumed to be processual, which goes hand in hand with immanent seriality. Implications for the concept of seriality can also be assumed here, as well as questions about a diffusion or formation of television itself. Accordingly, the possibility of viewing the content as well as the terminology in a spatiotemporal context is opened up. This is a proposal to consider the series as a spatialized concept, in order to think further about the concept of transmediality as a description of the mediality of a series.
Bu çalışma, sinemada gerçeklik fenomenini fotoğrafik görüntü üzerinden yola çıkarak, modern sinema estetiğinin katmanlı yapısıyla incelemeyi amaçlamaktadır. Blow-Up (Cinayeti Gördüm, 1966) sinemanın ne olduğu yönünde sorular sor(dur)an, aygıt üzerine düşün(dür)en ve imgenin yanılsamalı yapısını irdeleyen bir eser olarak önem kazanır. Bu bağlam çerçevesinde algının doğası ve gerçekliğin görsel boyutuna odaklanan film, çok katmanlı gerçeklik olgusunun hem fotoğraf hem de sinema açısından tartışılmasına müsait bir yapıttır. Filmin gerçeklik kavramını merkezine alması makalenin felsefi analiz yöntemi aracılığıyla incelenmesini gerekli kılmaktadır. Diğer eleştiri türlerinden farklı olarak felsefi çözümleme yönteminin ereği, eseri odağına alarak onun iletisini sorgula(t)maktır. Blow-Up filmini çözümlemek, gerçeklik olgusuna dair önemli izleklere erişebilme imkânı tanımıştır. Sonuç olarak yapılan çalışmanın bulgularına göre; modern özne ile gerçeklik arasındaki ilişkinin sorgulandığı filmde, yönetmenin "yeni-gerçekçi" tanımlamasına niteliksel olarak uyum gösterdiği çıkarımına ulaşılmıştır. Eserin, hem klasik stille özdeşleşmiş konvansiyonel anlatı normları hem de açık uçlu imaj kullanımları ve muğlak olay örgüleriyle tanımlanan modern sinemaya ait kodları barındırdığı saptanmıştır. Yönetmenin, kurmacaya gerçeklik izlenimi taşıyan bir rol atfetmek yerine gerçekliğin doğasının kurgusallıktan oluştuğunu vurguladığı; dolayısıyla bu durum seyirci nezdinde gerçeklik fenomenini kurmaca bir olgu olarak deneyimlemesine yol açtığı tespit edilmiştir. Filmin gerçeklik kavramı üzerinden incelenmesi yapıtın daha derinlikli bir şekilde kavranmasına ve esere ait estetik değerlerin felsefi eleştirisinin gerçekleştirilmesine uygun bir perspektif sağlamıştır
The paper is concerned with the terminology of plotlines in serial narratives. Regarding the formal factors that have undergone considerable transformations, media scholars mention a particular type of composition that is based on a multi-plotline arrangement and is characterised by the dominance of continuing plotlines. The evolving storytelling paradigm entails the need to redefine some of the descriptive terms, as well as introduce new designations. The term “plot” is explained in the context of literary studies, film studies and the industry nomenclature associated with the production of serials. Theauthor also proposes adopting a new scholarly term, i.e. the “catalytic plotline”.
Artykuł dotyczy nazewnictwa wątków w narracji serialowej. Wśród czynników formalnych, które uległy znaczącym przemianom, medioznawcy wymieniają specyficzny rodzaj kompozycji w rozkładzie wielowątkowym, charakteryzowany dominantą wątków kontynuowanych. Ewoluujący paradygmat opowiadania implikuje konieczność redefiniowania niektórych z pojęć opisowych, jak również wprowadzenia nowego nazewnictwa. Termin „wątek” wyjaśniono w kontekście badań literackich, filmowych i branżowego nazewnictwa związanego z produkcją seriali. Autor artykułu zgłasza propozycję wprowadzenia nowego terminu badawczego: wątek katalizujący.
Bu çalışmada Engin Ayça’nın Bez Bebek (1987), Soğuktu ve Yağmur Çiseliyordu (1990) ve Suna (2007) filmleri; anlatım, yapım ve sinemasal dönemin koşullarına odaklanılarak irdelenmektedir. Araştırmanın temel veri kaynakları arasında filmsel metinlerin yanı sıra üretim koşullarının etkilerini anlayabilmek için yönetmenle gerçekleştirilen yarı yapılandırılmış derinlemesine bire bir görüşmeler yer almaktadır. Bulgular analiz edilirken ise Tregde’nin (2013) auteur üretim tarzı analizi ve Buckland’ın (2021) sanat sineması anlatım analizi yaklaşımları kullanılmaktadır. Çalışmada, temel olarak “Engin Ayça’nın kurmaca filmlerini oluşturan koşullar nelerdir?” ve “Yönetmenin filmlerinin üretim süreci anlatıma nasıl etki etmiştir?” sorularından hareket edilmektedir. Yönetmenin filmlerinin sinema dili bakımından sanat sineması geleneği içinde bulunduğu varsayımına dayanılarak çalışmada sanat sineması anlatım analizi uygulanmıştır. Bu analiz yaklaşımından yola çıkılarak filmlerin klasik anlatı sinemasının anlatım kodlarından saptığı tespit edilmiştir. Ayrıca Engin Ayça’nın uzun metrajlı filmlerinin, 1980’lerin “kadın filmleri” üretim tarzı içindeki yeri sinema dilinin ayrıksı olup olmadığı üzerinden tartışılmıştır. Böylelikle yönetmenin kurmaca filmlerinin, sinema dili açısından dönemin diğer kadın filmlerden ayrıksı bir konumda olduğu sonucuna varılmıştır. Yönetmenin, yapım aşamasında üretimi kendi kararları doğrultusunda gerçekleştirmesi bakımından auteur üretim tarzına uygun filmler tasarladığı öne sürülmüştür. Bununla birlikte dönemin müdahaleci yapım anlayışı göz önüne alındığında Ayça’nın filmlerinin karma bir karar verme mekanizması içinde üretildiği anlaşılmaktadır.
Dalam ranah konstruksi penceritaan sinematik, penanaman dan pengungkapan, planting and payoff dan foreshadowing, berfungsi sebagai perangkat naratif yang sangat penting di mana petunjuk-petunjuk halus yang ditempatkan lebih awal dalam alur cerita berujung pada pengungkapan atau peristiwa penting, memperkaya keterlibatan dan pengalaman naratif penonton. "Agak Laen," sebuah film yang dengan mahir menggabungkan unsur-unsur komedi dengan tema-tema yang mendalam, memberikan kanvas yang sangat menarik untuk mengeksplorasi penerapan strategis dari penanaman dan pengungkapan. Penelitian ini secara cermat menguraikan lanskap naratif film, fokusnya pada hubungan simbiosis antara hiburan komedi dan gravitasi yang mendasarinya, yang difasilitasi oleh penyelarasan yang rumit dari teknik penanaman dan pengungkapan. Melalui analisis mendalam pada titik-titik penting dalam alur cerita, terutama kematian tidak disengaja di dalam rumah berhantu dan upaya untuk menutupinya, kami mengungkapkan lapisan-lapisan halus dari penanda awal yang tersemat dengan cermat dalam alur cerita. Sentral dalam penyelidikan kami adalah artefak simbolis yang ditinggalkan oleh almarhum, sebuah wadah obat dan topi kuning, masing-masing berfungsi sebagai katalis untuk serangkaian pengungkapan-pengungkapan penting, mulai dari keuntungan keuangan hingga pukulan emosional. Melalui pemeriksaan yang cermat, kami mengungkapkan dampak mendalam dari penanaman ini, yang tidak hanya meningkatkan kedalaman naratif film tetapi juga menegaskan kekayaan dan resonansi tematiknya. Penelitian ini menawarkan wawasan berharga tentang seni konstruksi naratif sinematik, menjelaskan bagaimana teknik-teknik penanaman dan pengungkapan meningkatkan pengalaman bercerita, terutama dalam film komedi dengan nuansa serius, seperti yang ditunjukkan oleh kisah berlapis dari "Agak Laen." In the realm of cinematic storytelling construction, planting and payoff, or foreshadowing, serves as a pivotal narrative device where subtle hints and clues laid out earlier in the plot culminate in significant revelations or events, enriching the audience's engagement and narrative experience. "Agak Laen," a film masterfully blending comedic elements with profound themes, offers a compelling canvas for exploring the strategic deployment of planting and payoff. This study meticulously dissects the film's narrative landscape, focusing on the symbiotic relationship between comedic relief and underlying gravity, facilitated by the intricate weaving of planting and payoff techniques. Through an in-depth analysis of pivotal plot points, notably the accidental death within a haunted house and the ensuing cover-up, we uncover the nuanced layers of foreshadowing meticulously embedded within the storyline. Central to our investigation are the symbolic artifacts left behind by the deceased, a medicine container and a yellow hat, each serving as catalysts for a cascade of consequential payoffs, ranging from financial windfalls to emotional reckonings. Through meticulous scrutiny, we unveil the profound impact of these plantings, which not only enhance the narrative depth of the film but also underscore its thematic richness and resonance. This study offers valuable insights into the artistry of cinematic narrative construction, elucidating how planting and payoff techniques elevate the storytelling experience, particularly in comedy films with serious undertones, as exemplified by the layered tapestry of "Agak Laen."
Em perspectiva do pensamento de Northrop Frye, segundo a qual, o imaginário fundante de toda a ideologia literária que moldou o pensamento ocidental é proveniente das narrativas da Bíblia Hebraica, a presente comunicação propõe-se a demonstrar alguns pontos de aderência entre a literatura bíblica e o design narrativo constituinte da pragmática discursiva de um dos produtos de storytelling mais sofisticados da atualidade: o cinema. Tal entrepresa dispõe, por conseguinte, como referencial teórico, do plexo conceitual que orbita as obras de: (1) Robert Alter; (2) Daniel Marguerat e Yvan Bourquin; (3) Gary Yamasaki; (4) David Bordwell; entre outros. Portanto, conforme assevera Adele Berlin, acerca da mensagem das narrativas da Bíblia Hebraica ser acessível, ao mesmo tempo, tanto pela forma quanto pelo conteúdo do texto, o que se pretende evidenciar, todavia, é que, além dos elementos temáticos, a estrutura narrativa da Bíblia converge metodologicamente com o design narrativo da cinematografia nupérrima.
The current study focuses on various actual aspects of didactic material, which could be used in the framework of open and distance education, emphasizing film resources and more generally images. On the one hand, Internet, mainly Youtube, has well promoted video as a means of expression, video managed to promote various fundamental rights, such as the rights to recreation, research and education. Documentaries constitute an important tool in the educational proceeding whilst didactisation constitutes a wider proceeding, related to teaching procedures which introduce documents coming from various sources. On the other hand, a branch of law has emerged in the digital era, consisting in personal data law. At least in France, the right to image is an autonomous right in comparison with the right to privacy, in spite of the fact that its explicit consecration in Civil Code has been removed. The current research is completed by an approach relevant to the creation of alternative teaching material on open and distance learning, including inter alia a didactic documentary.
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