Relevant bibliographies by topics / Cinematic narrative

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Cinematic narrative'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Cinematic narrative"

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Kraft, Robert N. "Rules and Strategies of Visual Narratives." Perceptual and Motor Skills 64, no. 1 (February 1987): 3–14. http://dx.doi.org/10.2466/pms.1987.64.1.3.

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A functional distinction was drawn between two sets of cinematic principles, grammatical rules and rhetorical strategies. Four different versions of visual narratives were constructed by either following or violating a cinematic rule and by following one of two cinematic strategies in a 2 by 2 design. Each narrative presented a simple interaction between two characters. Subjects viewed the narratives, evaluated the characters, and then reconstructed the depicted events. As predicted, violating a cinematic rule significantly weakened subjects' reconstruction of the stories but did not alter their evaluation of the characters. Conversely, changing the cinematic strategy influenced subjects' evaluation of the characters but not their reconstruction of the stories. General implications for comprehension of visual narratives are discussed.
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Vidakovic, Lea. "Fragmented Narratives: Exploring Storytelling approaches for Animation in Spatial Context." International Journal of Film and Media Arts 6, no. 2 (December 17, 2021): 7–27. http://dx.doi.org/10.24140/ijfma.v6.n2.01.

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Animation is considered a prevalent medium in contemporary moving image culture, which increasingly appears across non-conventional surfaces and spaces. And while storytelling in animation films has been extensively theorized, narrative forms that employ physical space as part of storytelling have been less explored. This paper will examine the narrative aspect of animation works which are screened outside the traditional cinematic venues. It will look at how these animation works tell stories differently - using the full potential of the space, as a narrative device, a tool, and a stage where the narratives unfold. This paper will look at the historical perspective and the state of the art in animation installation today, exploring the relationship between the space and narrative in pre-cinematic, cinematic and post-cinematic conditions. It will examine how narrative structures in animation have changed over time, on their way from the black box of the cinema to the white cube of the gallery and even further, where they became part of any space or architecture. Through case studies of works by Tabaimo, Rose Bond, William Kentridge and other relevant artists, the interdependency of the narrative and the space where it appears will be explored, in order to identify new strategies for storytelling in animation. The aim of this paper is to emphasize the storytelling novelty that animation installations offer, which goes beyond the narrative structures that we are used to see on a single flat surface.
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Bosica, Matthew. "Review: Warren Buckland, Narrative and Narration: Analyzing Cinematic Storytelling." Frames Cinema Journal, no. 18 (June 24, 2021): 273–76. http://dx.doi.org/10.15664/fcj.v0i18.2282.

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Algül, Mustafa. "Anlatı İçinde Anlatı: “Into The Woods (Sihirli Orman)” Filminin Peri Masalı Anlatıları İçindeki Gezintisi." Etkileşim 4, no. 7 (April 2021): 128–49. http://dx.doi.org/10.32739/etkilesim.2021.7.121.

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Myths, epics, and tales have survived for centuries in the oral expression tradition and have been permanently transcribed from oral tradition into written form. They are the most frequently recreated narratives in the cinema with their fantastic narrative structures. Hollywood cinema has been using tales as visual narratives for years. Tales, which have been turned into a structure open to the interpretation in accordance with the changing world, on the one hand is being reediting continuously. On the other hand, they gain new appearances along with intertwined narrative structures. In Into the Woods (Rob Marshall, 2014), four different fairy tales were used together. In this study, it is aimed to determine what kind of changes has been carried out in the film in terms of the different stages of the fairy tales. For this purpose, while collecting the data by examining the narrative structure of the fairy tales, the action areas are identified in terms of the “five components” in the Greimas’ ‘canonical narrative’. Briefly, the main object in this paper is to explicate the status of the film within the types of the cinematic narratives.
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Bellardi, Marco. "The cinematic mode in fiction." Frontiers of Narrative Studies 4, s1 (November 22, 2018): s24—s47. http://dx.doi.org/10.1515/fns-2018-0031.

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AbstractThis article focuses on the imitation of film form in cinematic novels and short stories on the level of narrative discourse and introduces the concept of ‘para-cinematic narrator’. The author compares the temporality expressed by verbal tenses in literature and the temporality expressed through film semiosis. The connection between film and literary fiction is explored in terms of foreground and background narrative style. It is argued that the articulation of narrative foreground and background – i. e. the “narrative relief” (Weinrich 1971) – in film form tends to favour the foreground style, and that such narrative relief is ‘flattened’ due to the “monstrative” quality (Gaudreault 2009) of the medium. This flattening is remediated in strongly cinematised fiction and conveyed through the use of verbal tenses. The imitation of montage and specific cinematic techniques is conceived, consequently, as a separate feature that can integrate into this remediated, para-cinematic temporality. Finally, the author recalls the concept of “mode” in genre theory (Fowler 2002), which describes a “distillation” of traits from one genre to another. With the category of cinematic mode the remediation of basic traits from film to literary fiction can be framed in terms of genre-related discourses.
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Ings, Welby. "Renegotiating the screenplay: Drawing as a method for narrative development in a short film." Journal of Screenwriting 12, no. 2 (June 1, 2021): 151–63. http://dx.doi.org/10.1386/josc_00057_1.

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This article considers a non-written form of screenplay. In so doing, it illustrates a trajectory of thinking where drawing methods were employed in the development of a cinematic narrative. These visual approaches replaced creative processing normally associated with writing. In discussing the author’s short film Sparrow, the exposition examines three processes. The first method, gestational drawing, was employed as a ‘story finding’ device. The second, immersive drawing, was used to refine thematic intensity in the work. Finally, directorial drawing was employed as a catalyst for discussion when collaborating with actors and production crew. In discussing these drawing methods, the article proposes the concept of ‘screenplay’ as a verb and an active space where a developer of cinematic narratives might work beyond the parameters of writing, to ideate, refine and artistically compose image-led, cinematic narratives.
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Dakovic, Nevena. "Cinematic narratives of Sonderkommando: Son of saul or narrating the victim, perpetrator, trauma and death." Temida 19, no. 3-4 (2016): 477–92. http://dx.doi.org/10.2298/tem1604477d.

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The aim of this paper is to map out - by analysing the film Son of Saul, but also by its comparison with two other films dealing with the topic, Himmelkommando and The Grey Zone, the narrative mechanism that satisfies the complex ethical and aesthetical demands imposed by the theme of Sonderkommando as the particular episode of the Holocaust. The key element of the narrative structure is the construction of the Levi?s ?dead and drowned? witness who ?resurrected? through the narrative intervention becomes the only reliable and credible narrator of the historical trauma. The prerequisite for his emergence is the narration and representation of the death which makes but also solves the traumatised - understood as multiple, fragmented, opposed - identities of the members of the special squad. Their entangled identity involves the simultaneous presence of a victim, perpetrator, witness and the authentic narrator of the trauma of the death camp. The death of the perpetrator is the condition sina qua non for the emergence of the figure of the victim-witness narrator but also for making of narrative which overcomes the initial trauma of the Holocaust. The detailed analysis of the film Son of Saul confirms and identifies these narratives as the modernist narration of the post-traumatic film.
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Corrigan, Timothy. "Cinematic Snuff: German Friends and Narrative Murders." Cinema Journal 24, no. 2 (1985): 9. http://dx.doi.org/10.2307/1225359.

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배현. "Cinematic Application of John Fowles’s Narrative Technique." English21 23, no. 3 (September 2010): 41–66. http://dx.doi.org/10.35771/engdoi.2010.23.3.003.

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Belau, Linda. "Impossible Origins: Trauma Narrative and Cinematic Adaptation." Arts 10, no. 1 (February 22, 2021): 15. http://dx.doi.org/10.3390/arts10010015.

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In this essay, I explore the cinematic adaptation and the representation of trauma, while I further consider the role and significance of the notion of the origin in both trauma and in cinematic adaptation. Through an initial consideration of the relationship between the theory of the impossible origin, particularly as it is articulated by Walter Benjamin, the essay goes on to analyze the significance and role of an impossible origin in the elemental form of adaptation. To this end, the essay considers the movement of adaptation from an autobiographical trauma memoir to a feature film, considering the success or failure of adaptation in situations where the original literary work concerns an experience of extremity. As I consider the vicissitudes of trauma and its grounding in a repetitious structure that leaves the survivor suspended in a kind of missed experience (or missed origin), I further explore how this missing origin (or original text in the case of adaptation) can be represented at all.
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Dissertations / Theses on the topic "Cinematic narrative"

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McVeigh, Kathryn Margaret. "Mosaic narrative a poetics of cinematic new media narrative." University of Southern Queensland, Faculty of Arts, 2008. http://eprints.usq.edu.au/archive/00006235/.

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This thesis proposes the Poetics of Mosaic Narrative as a tool for theorising the creation and telling of cinematic stories in a digital environment. As such the Poetics of Mosaic Narrative is designed to assist creators of new media narrative to design dramatically compelling screen based stories by drawing from established theories of cinema and emerging theories of new media. In doing so it validates the crucial element of cinematic storytelling in the digital medium, which due to its fragmentary, variable and re-combinatory nature, affords the opportunity for audience interaction. The Poetics of Mosaic Narrative re-asserts the dramatic and cinematic nature of narrative in new media by drawing upon the dramatic theory of Aristotle’s Poetics, the cinematic theories of the 1920s Russian Film Theorists and contemporary Neo-Formalists, the narrative theories of the 1960s French Structuralists, and the scriptwriting theories of contemporary cinema. In particular it focuses on the theory and practice of the prominent new media theorist, Lev Manovich, as a means of investigating and creating a practical poetics. The key element of the Poetics of Mosaic Narrative is the expansion of the previously forgotten and undeveloped Russian Formalist concept of cinematurgy which is vital to the successful development of new media storytelling theory and practice. This concept, as originally proposed but not elaborated by Kazansky, encompasses the notion of the creation of cinematic new media narrative as a mosaic – integrally driven by the narrative systems of plot, as well as the cinematic systems of visual style created by the techniques of cinema- montage, cinematography and mise-en-scene.
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Brooks, Kevin Michael 1958. "Metalinear cinematic narrative : theory, process, and tool." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/9544.

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Thesis (Ph.D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 1999.
Includes bibliographical references (leaves 207-218).
Media entertainment technology is evolving rapidly. From radio to broadcast television to cable television, from motion picture film to the promise of digital video disks, as the media evolves, so do the stories told over these media. We already share many more stories and more types of stories from many more sources than we did a decade ago. This is due in part to the development of computer technology, the globalization of computer networks, and the emerging new medium which is an amalgam of television and the internet. The storyteller will need to invent new creative processes and work with new tools which support this new medium, this new narrative form. This thesis proposes the name Metalinear Narrative for the new narrative form. The metalinear narrative is a collection of small related story pieces designed to be arranged in many different ways, to tell many different linear stories from different points of view, with the aid of a story engine. Agent Stories is the software tool developed as part of this research for designing and presenting metalinear cinematic narratives. Agent Stories is comprised of a set of environments for authoring pieces of stories, authoring the relationships between the many story pieces, and for designing an abstract narrative structure for sequencing those pieces. Agent Stories also provides a set of software agents called story agents, which act as the drivers of the story engine. My thesis is that a writing tool which offers the author knowledgeable feedback about narrative construction and context during the creative process is essential to the task of creating metalinear narratives of significant dimension.
by Kevin Michael Brooks.
Ph.D.
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Dong, Qian Kun Grace. "Representing the shoah :contrastive cinematic narratives." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3953471.

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Powell, Helen Louise. "Stop the clocks : cinema, temporality and the narrative." Thesis, Birkbeck (University of London), 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324622.

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Dodd, Jacob Adam Joseph. "Beyond Narrative." VCU Scholars Compass, 2007. http://scholarscompass.vcu.edu/etd/1489.

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My graduate film at Virginia Commonwealth University, "Nunna Mia e la Barca," explores the traditions behind narrative and documentary film construction. With this project, my goal was to blend narrative story telling techniques - for example continuity editing - with that of documentary approaches in order to communicate the story of my Italian grandmother, Nunna, and her journey on the Andrea Doria in 1956. These documentary approaches focus more on the specific details of Nunna's American home as I have experienced them growing up. Everything in the motion picture frame has been lit, composed, rehearsed, and edited as in any fictional film, but the actors are my family and do play themselves and others throughout the piece. Although the work is scripted, the actuality of Nunna being herself and acting out her daily tasks creates a soft merging of fiction and nonfiction that makes the film nearly docudramatic. The docudramatic elements(elements dramatized from a true story) stem from both the biographical information as well as the perception of the abstracted objects in Nunna's house. As in most of my films, my interest lies in the relationship between past and present events and the effect they have on the individual experiencing them. In order for me to tackle the combination of narrative and documentary, I had to define the terms as I understood them to be.
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Lehman, Jeffrey. "The Cinematic Experience Through The Micro-Budget Paradigm." Master's thesis, University of Central Florida, 2013. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/5805.

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The Tailor's Apprentice is a feature-length, micro-budget, narrative digital motion picture, written, produced and directed by Jeffrey Lehman in partial fulfillment of the requirements of earning a Master of Fine Arts in Film from the University of Central Florida. The film is a result of applying specific monetary, logistical and creative limitations to the production process in order to contribute in defining the micro-budget aesthetic, resulting in a final shared cinematic audience experience. This thesis is a record of all stages from conception to completion of the executed, feature length film with-in the micro-budget production paradigm.
M.F.A.
Masters
Visual Arts and Design
Arts and Humanities
Film; Entrepreneurial Digital Cinema
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Touzjian, Richard. "From Film to Architecture:An Extended Cinematic Design Process based on Architectural Interpretations of Narrative Film." 京都大学 (Kyoto University), 2011. http://hdl.handle.net/2433/151991.

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McCormick, Paul Douglas. "American Cinematic Novels and their Media Environments, 1925 - 2000." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1324671316.

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Hawkins, Matthew. "The concept of affective tonality, and the role of the senses in producing a cinematic narrative." Thesis, University of East London, 2016. http://roar.uel.ac.uk/7627/.

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The practice based research project presented in this thesis draws upon theoretical research in affect studies and film-­philosophy. The aim of the thesis is to reconsider the pre-­production and production process of narrative cinema and involve the rich and varied research into the area of affect and the body in the field of film studies that is currently being used to analyse the reception and meaning making process used as the foundation for producing a series of narrative films that privilege affect over traditional storytelling structures. Four films were made as part of an investigation into affective film practice. These films accompany the written exegesis and serve as a testing ground for concepts developed in the written component of the thesis. Each piece of practice is formally and conceptually more complex than the last. The fourth and final film serves as an example for the cinema of affective tonality and as such constitutes the central, visual argument. The theoretical research and experimental moving-­image practice result in the outlining of five conditions for the production of a cinema of affective tonality, which are combined with a taxonomy of affect developed by the author of the thesis. The taxonomy and guidelines offer filmmakers and researchers -­ engaged in moving-­image practice and visual methods -­ a proposition to construct cinema through affect rather than linguistics and ideology of film grammar.
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Murrugarra, Polanco David Alonso. "La función narrativa de la banda sonora en El Padrino: Parte I." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/655905.

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Desde la implementación del sondo en las películas durante la segunda década del siglo XX, la banda sonora ha ido ganando un lugar importante en el proceso de creación de una historia cinematográfica. De esta manera, se cambió la visión del cine como se conocía.  Con el nacimiento de géneros cinematográficos y creadores audiovisuales, el cine paso por una etapa de redescubrimiento donde la implementación de nuevas técnicas fue un factor importante de dicho cambio. Ante esta adaptación, la industria ha desarrollado el uso de la banda sonora para otorgarle una función más avanzada que el sólo hecho de evitar el silencio injustificado en una película. Esta investigación busca demostrar la capacidad narrativa de la banda sonora para la historia de una película. Para ello se tomará la película de 1972: El Padrino Parte I. La elección de el objeto de estudio se sustenta en la elaborada banda sonora que acompaña la película.
Since the implementation of sound in movies during the second decade of the 20th century, the soundtrack has gained an important place in the process of creating a film story. In this way, the vision of cinema as it was known was changed. With the birth of film genres and audiovisual creators, cinema went through a stage of rediscovery where the implementation of new techniques was an important factor in this change. Faced with this adaptation, the industry has developed the use of the soundtrack to give it a more advanced function than just avoiding unjustified silence in a movie. This research seeks to demonstrate the narrative capacity of the soundtrack for the story of a film. For this, the 1972 film: The Godfather Part I will be taken. The choice of the object of study is based on the elaborate soundtrack that accompanies the film.
Trabajo de investigación
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Books on the topic "Cinematic narrative"

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Jung, Berenike. Narrating Violence in Post-9/11 Action Cinema: Terrorist Narratives, Cinematic Narration, and Referentiality. Wiesbaden: VS Verlag für Sozialwissenschaften / GWV Fachverlage GmbH, Wiesbaden, 2010.

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Cinematic political thought: Narrating race, nation, and gender. Edinburgh: Edinburgh University Press, 1999.

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Shapiro, Michael J. Cinematic political thought: Narrating race, nation, and gender. New York: New York University Press, 1999.

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M, Wilson George. Narration in light: Studies in cinematic point of view. Baltimore: Johns Hopkins University Press, 1986.

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Emison, Patricia. Moving Pictures and Renaissance Art History. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463724036.

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Film, like the printed imagery inaugurated during the Renaissance, spread ideas – not least the idea of the power of visual art – across not only geographical and political divides but also strata of class and gender. Moving Pictures and Renaissance Art History examines the early flourishing of film, from the 1920s to the mid-1960s, as partly reprising the introduction of mass media in the Renaissance, allowing for innovation that reflected an art free of the control of a patron though required to attract a broad public. Rivalry between word and image, between the demands of narrative and those of visual composition, spurred new ways of addressing the compelling nature of the visual. The twentieth century also saw the development of the discipline of art history; transfusions between cinematic practice and art historical postulates are part of the story told here.
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Cinematic narration and its psychological impact: Functions of cognition, emotion and play. Newcastle: Cambridge Scholars, 2009.

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Hoegsberg, Simon. Suggested narratives: On Philip-Lorca diCorcia's cinematic style and how it influeneces our interpretation of his photography. London: LCP, 2002.

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Narrative and Narration: Analyzing Cinematic Storytelling. Columbia University Press, 2020.

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Lewis, Hannah. Source Music and Cinematic Realism. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190635978.003.0006.

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Chapter 5 focuses on the role of diegetic music in early poetic realist films. Poetic realism, the filmmaking genre that emerged out of the politics of the mid-1930s, had its roots in transition-era films by filmmakers such as Jean Grémillon, Julien Duvivier, Jacques Feyder, and perhaps most notably, Jean Renoir. The soundtracks of these filmmakers tended to favor a “realistic” incorporation of music into the narrative, an aesthetic decision grounded in a broader preference for direct recording, and frequently featured popular songs and street musicians to enhance the realism of a film’s setting. But diegetic music in early poetic realist films was multivalent, revealing the emotions or thoughts of characters, providing narrative commentary, and at times going against the expectations of a scene’s mood or actions. Considering diegetic music in early poetic realist sound films shows the ways in which audiovisual realism and stylization worked hand in hand.
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McGregor, Rafe. A Criminology Of Narrative Fiction. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529208054.001.0001.

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This book answers the question of the usefulness of criminological fiction. Criminological fiction is fiction that can provide an explanation of the causes of crime or social harm and could, in consequence, contribute to the development of crime or social harm reduction policies. The book argues that criminological fiction can provide at least the following three types of criminological knowledge: (1) phenomenological, i.e. representing what certain experiences are like; (2) counterfactual, i.e. representing possible but non-existent situations; and (3) mimetic, i.e. representing everyday reality in detail and with accuracy. The book employs the phenomenological, counterfactual, and mimetic values of fiction to establish a theory of the criminological value of narrative fiction. It begins with a critical analysis of current work in narrative criminology and current criminological work on fiction. It then demonstrates the phenomenological, counterfactual, and mimetic values of narrative fiction using case studies from fictional novels, graphic novels, television series, and feature films. The argument concludes with an explanation of the relationship between the aetiological and pedagogic values of narrative fiction, focusing on cinematic fictions in virtue of the vast audiences they reach courtesy of their place in global popular culture.
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Book chapters on the topic "Cinematic narrative"

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Liu, Yong. "Introduction: Stereoscopic Narrative, Spectacle, and 3D Ontology." In 3D Cinematic Aesthetics and Storytelling, 1–10. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72742-4_1.

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Gil, Isabel Capeloa. "The Sovereign’s Broken Voice: On the Cinematic Politics of Representation." In Narrative(s) in Conflict, edited by Wolfgang Müller-Funk and Clemens Ruthner, 133–48. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783110556858-010.

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Liu, Yong. "Within and Without: Trans-Subjective Narrative Perspectives in Digital 3D Cinema." In 3D Cinematic Aesthetics and Storytelling, 141–71. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-72742-4_6.

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Gowanlock, Jordan. "Cinematic Chaos, Catastrophe, and Unpredictable Embrace." In Palgrave Animation, 145–70. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74227-0_6.

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AbstractThis chapter studies how unpredictable change is understood through concepts like of fractals, chaos theory, catastrophe theory, perfect storms, and climate models in feature films from 1982 to 2019, both as narrative themes and as spectacular simulation-based animations. Positing a particular mode of visual effects spectatorship, the chapter observes how narrative, theme, and spectacular images represent these concepts in congress. Over the period surveyed, these representations shift from sublime overwhelming images of disastrous events to more recent examples that embrace chaos as a source of creativity and knowledge.
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Vidushi. "Cinematic Narrative: The Construction of Dalit Identity in Bollywood." In Media, Margins and Popular Culture, 123–35. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137512819_9.

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Kosmidou, Eleftheria Rania. "Civil Wars and Cinematic Narrative: The Case of Psychi Vathia (Deep Soul, Pantelis Voulgaris, 2009)." In Civil War and Narrative, 129–49. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-61179-2_8.

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Speedy, Jane. "Afterwords: Electronic and Cinematic Tools and some Future ‘Nomadic’ Possibilities in Narrative Counselling and Psychotherapy Research." In Narrative Inquiry and Psychotherapy, 182–88. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-02155-7_11.

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Thorne, Brandon R., David R. Winer, Camille Barot, and R. Michael Young. "Firebolt: A System for Automated Low-Level Cinematic Narrative Realization." In Interactive Storytelling, 333–42. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-33894-7_34.

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Dynel, Marta. "When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative." In Perspectives in Pragmatics, Philosophy & Psychology, 205–52. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56696-8_12.

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AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television seriesHouse.In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene inStage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.
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Valentini, Paola. "Mina: Narrative and Cinematic Spectacle of the Italian Woman of the 1960s." In Writing and Performing Female Identity in Italian Culture, 81–103. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-40835-4_5.

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Conference papers on the topic "Cinematic narrative"

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Goranson, Ted. "Navigating Annotation Chains in Cinematic Narrative." In the 2015 Workshop. New York, New York, USA: ACM Press, 2015. http://dx.doi.org/10.1145/2804565.2804566.

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Galvane, Quentin, Rémi Ronfard, Marc Christie, and Nicolas Szilas. "Narrative-driven camera control for cinematic replay of computer games." In MIG '14: Motion in Games. New York, NY, USA: ACM, 2014. http://dx.doi.org/10.1145/2668064.2668104.

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Lus Arana, Luis M. "La Ligne Claire de Le Corbusier. Time, Space, and Sequential Narratives." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.814.

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Abstract: In 1921, issue 11-12 of L’Esprit Nouveau featured an article entitled “Toepffer, précurseur du cinema” where Le Corbusier, signing as ‘De Fayet’, vindicated the figure of Rodolphe Töpffer (1799-1846), a Swiss a pioneer of comics, as a key element in the development of cinema. Marginal as it may seem, this reference unveils a deeper relationship between Jeanneret and Töpffer’s work which started in his childhood, and would have a key role in the development of some of Le Corbusier’s trademark obsessions: travel, drawing, and cinematic narratives. In this context, “La Ligne Claire de Le Corbusier” proposes a close examination of the presence of graphic narrative and its aesthetics in Le Corbusier's early work in relation to its evolution from a sequential promenade architecturale to multispatial enjambment. The paper explores themes such as narrative and the inclusion of time in le Corbusier's Purist paintings, or his evolution from a painterly approach to drawing to an idealized, linear and synthetic rendering style. Keywords: Sequence; Enjambment; Purism; Avant-Garde; Töpffer ; Bande Dessinée. DOI: http://dx.doi.org/10.4995/LC2015.2015.814
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Lan, Wen. "Reconstruction · Emotion · Narrative: Discussion on the Application of Cinematic Space Language in Interior Design." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.088.

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Liu, Yuqing. "GHOST FROM THE FUTURE: HONG KONG TEMPORALITIES IN THE FILM ROUGE." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.22.

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This paper explores how the film Rouge (1987) adapts and transforms traditional ghost narratives and how the cinematic anxiety of time is associated with the countdown temporality of Hong Kong in the 1980s. I argue that Rouge transforms two narrative structures of traditional Chinese literature — Caizi-jiaren (scholar-beauty) and the “historical ghost tale” — to foreground the particular temporality of Hong Kong. Firstly, the returning of the female ghost and her failure in pursuit of love intensifies the conflict between the modern linear time and the cosmological ghostly time and poignantly manifests the impossibility of a fifty-year unchanged commitment. Secondly, unlike traditional “historical ghost tales” in which ghosts were called back by traumas of the collapse of old dynasties, the revenant of the heroin in this film returns to the living world for the prearranged trauma of the future, due to the particular temporality of countdown Hong Kong has confronted since 1982. The countdown forced Hong Kong to enter a circular time and to experience the prearranged calamity in the future. Thus, I contend that this film rehearses a demise of Hong Kong, which exacerbates, rather than alleviates, the anxiety and pain associated with the traumatic experience.
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Tavares, Tatiana. "Paradoxical saints: Polyvocality in an interactive AR digital narrative." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.81.

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This artistic, practice-led PhD thesis is concerned with the potentials of polyvocality and interactive digital narrative. The practical project, Saints of Paradox, is constructed as a printed picture book that can be experienced through an Augmented Reality [AR] platform. The fictional story entails a woman who mourns the disappearance of her lover in the 1964 Brazilian coup d’état and lives for 40 years in a room of accumulated memories. IIn each illustration, the user can select three buttons on the tablet device that activates a different version of the story. Three narrators (saints) present interconnected but diverging interpretations of the events shaped by their distinct theological positions. The respective values of compassion, orthodoxy, and pragmatic realism distort details of imagery, sound, movement, and meaning. AR animated vignettes, each backed by a uniquely composed cinematic soundscape, allow characters to populate the luxuriously illustrated world. Candles flicker and burn, snakes curl through breathing flowerbeds, and rooms furnished with the contents of accumulated memories pulsate with mystery. The scanned image reviews an interactive parallax that produces a sense of three-dimensional space, functioning as a technical and conceptual component. Theoretically, the story navigates relationships between the real and the imagined and refers to magical real binary modes of textual representation (Flores, 1955, Champi, 1980; Slemon, 1988, 1995; Spindler, 1993; Zamora and Faris; 1995; Bowers, 2004). Here, meaning negotiates an unreliable, sometimes paradoxical pathway between rational and irrational accounting and polyvocal narration. The dynamics between the book and the AR environments produce a sense of mixed reality (actual and virtual). The narrative experience resides primarily in an unstable virtual world, and the printed book functions as an enigmatic unoccupied vessel. Because of this, we encounter a sense of ontological reversal where the ‘virtual’ answers the ambiguities presented by the ‘real’ (the book). In the work, religious syncretism operates as a reference to Brazilian culture and an artistic device used to communicate a negotiation of different voices and points of view. The strange and somehow congruous forms of European, African, and indigenous influences merge to form the photomontage world of the novel. Fragments of imagery may be considered semiotic markers of cultural and ideological miscegenation and assembled into an ambiguous ‘new real’ state of being that suggests syncretic completeness. Methodologically, the project emanates from a post-positivist, artistic research paradigm (Klein, 2010). It is supported by a heuristic approach (Douglass and Moustakas, 1985) to the discovery and refinement of ideas through indwelling and explicitness. Thus, the research draws upon tacit and explicit knowledge in developing a fictional narrative, structure, and stylistic treatments. A series of research methods were employed to assess the communicative potential of the work. Collaboration with other practitioners enabled high expertise levels and provided an informed platform of exchange and idea progression.
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Pertiwi, Intan, and Diah Tyahaya Iman. "Cinematic Adaptation of Markus Zusak’s Novel, The Book Thief : A Newfangled Perspective on The Nazi War, Anti-Semitism, and Narrative." In Proceedings of the 1st International Conference on Gender, Culture and Society, ICGCS 2021, 30-31 August 2021, Padang, Indonesia. EAI, 2022. http://dx.doi.org/10.4108/eai.30-8-2021.2316288.

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Pratama, Diah Rahayu, and T. Kasa Rullah. "Comparative the Elements of Narrative and Cinematic in the Film of 1911 by Wang Xing Dong and Di Balik 98 by Lukman Sardi." In International Conference of Science, Technology, Engineering, Environmental and Ramification Researches. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0010068511391151.

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Walker, Kevin. "Learning on location with cinematic narratives." In the 1st ACM workshop. New York, New York, USA: ACM Press, 2004. http://dx.doi.org/10.1145/1026633.1026646.

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Henrikson, Rorik, Bruno Araujo, Fanny Chevalier, Karan Singh, and Ravin Balakrishnan. "Multi-Device Storyboards for Cinematic Narratives in VR." In UIST '16: The 29th Annual ACM Symposium on User Interface Software and Technology. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2984511.2984539.

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