Relevant bibliographies by topics / Diegetic

Contents

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

Academic literature on the topic 'Diegetic'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 July 2025

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Journal articles on the topic "Diegetic"

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Castelvecchi, Stefano. "On “Diegesis” and “Diegetic”: Words and Concepts." Journal of the American Musicological Society 73, no. 1 (2020): 149–71. http://dx.doi.org/10.1525/jams.2020.73.1.149.

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In discussing those passages of an opera in which not only the audience but also the characters of the story hear music, musicologists often write of “diegetic” music, adopting well-established terminology from film studies and narratology. The terms “diegesis” and “diegetic” stem from ancient Greek, and owe their long-standing fortune to their presence in seminal writings by Plato and Aristotle; scholars of narrative, drama, film, and music occasionally note, however, that the meaning assumed by “diegesis” and “diegetic” in recent decades is very different from (or even opposite to) the histo
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Neumeyer, David. "Diegetic/Nondiegetic: A Theoretical Model." Music and the Moving Image 2, no. 1 (2009): 26–39. http://dx.doi.org/10.5406/musimoviimag.2.1.0026.

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Abstract Two pairs of terms, diegetic/nondiegetic and synchronization/counterpoint, have remained central to discussions of film music. The first of these in particular has strong connections to film studies and literary studies (specifically, narratology). A model that positions diegesis in relation to (between) spatial anchoring and narration can help sort out the shift from opposition to function and make the diegetic/nondiegetic pair more reliable for interpretation of film music.
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Merlin, Didi. "Diegetic Sound." Kieler Beiträge zur Filmmusikforschung 6 (July 27, 2023): 66–100. http://dx.doi.org/10.59056/kbzf.2010.6.p66-100.

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Gavaler, Chris. "Formal Metacomics: Practice as Theory." Inks: The Journal of the Comics Studies Society 8, no. 1 (2024): 78–83. http://dx.doi.org/10.1353/ink.2024.a927237.

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ABSTRACT: A “formal metacomic,” as defined by Roy T. Cook, “is a comic whose plot involves formal manipulations of the conventions of the comic medium.” Such manipulations draw attention to Charles Hatfield’s understanding of comics as an “art of tensions,” specifically “between codes of signification; between the single image and the image-in-series ; between narrative sequence and page surface ; and, more broadly, between reading-as- experience and the text as material object .” These tensions are related to, and possibly unified by, one overarching tension: between the imagined diegetic qua
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Pascal, Marie. "L’écrit à l’écran : écriture, texte et lisibilité dans la transcréation québécoise." Canadian Journal of Film Studies 30, no. 1 (2021): 25–48. http://dx.doi.org/10.3138/cjfs-2019-0019.

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From the first movies to talkies, films have never been able to completely emancipate from language, the main way of communicating a story, and thus to ignore the written word. It can however be surprising that the written word hasn’t completely disappeared, even retaining an important role in talking cinema, since actors can now express themselves verbally and the audience can gather, thanks to the audio, all the information required to understand. There still remain some traces of writing on the screen, which Chion (2013) distinguishes as being “diegetic” or “non-diegetic.” Several types of
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Alam, Pandu Watu, Rangga Saptya Mohamad Permana, and Sri Seti Indriani. "Diegetic and nondiegetic sounds in film scoring of Pengabdi Setan film." ProTVF 7, no. 2 (2023): 165. http://dx.doi.org/10.24198/ptvf.v7i2.47281.

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Background: This research examines the 2017 film Pengabdi Setan scoring function. Joko Anwar wrote and directed the film Pengabdi Setan, released on September 28, 2017. This film is a remake of a 1980 film of the same name. In this film, the score is essential for visually confirming symbols or incomplete messages. There are two types of sound: diegetic sound and non-diegetic sound. Purpose: This research aims to determine how diegetic and non-diegetic sound were used to create a horror atmosphere in the film Pengabdi Setan. Methods: The authors described the audio analysis results in the form
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Hunter, Aaron. "When is the now in the here and there? Trans-diegetic music in Hal Ashby’s Coming Home." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 36–48. http://dx.doi.org/10.33178/alpha.3.03.

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While it would be a stretch to classify Hal Ashby as a postmodernist filmmaker (with that term’s many attendant ambiguities), his films of the 1970s regularly evince post-Classical stylistic and narrative strategies, including non-linear time structures, inter-textual self-references, open endings, and nuanced subversions of the fourth wall. Ashby’s most consistently playful approach to form comes by way of his integration and development of trans-diegetic musical sequences within his body of work. Music in Ashby films creates a lively sense of unpredictability, and each of his seven films of
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Ciric, Marija. "Narration and film music diegetic and non-diegetic music in film." Kultura, no. 134 (2012): 129–40. http://dx.doi.org/10.5937/kultura1234129c.

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Maijar, Andri, and Jhori Andela. "Implementasi Non-Diagetic Sound pada Film “Onde Mande!” untuk Memberikan Efek Dramatik." Jurnal Sendratasik 13, no. 2 (2024): 17. http://dx.doi.org/10.24036/js.v13i2.129549.

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Penelitian ini mengkaji penggunaan Non-diegetic sound dalam film "Onde Mande!" untuk meningkatkan efek dramatik dan konteks budaya Minangkabau. Film ini disutradarai oleh Paul Agusta dan mengusung genre drama komedi keluarga dengan latar budaya Minangkabau. Tujuan dalam penelitian ini adalah memberikan kontribusi penting dalam memahami peran Non-diegetic sound dalam film sebagai alat naratif yang kuat, khususnya dalam konteks budaya tertentu. Hal ini juga menunjukkan bagaimana elemen audio dapat digunakan secara kreatif untuk memperkaya pengalaman sinematik dan memperkuat identitas budaya dala
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Arhip, Odette, and Cristian Arhip. "METALEPSIS AS A META-REFERENTIAL DEVICE IN PROFESSIONAL ARTISTIC COMMUNICATION." Professional Communication and Translation Studies 6 (December 7, 2022): 71–78. http://dx.doi.org/10.59168/hxkk1753.

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Our contribution focuses on the trans-medial concept of meta-reference. One of the main meta-referential devices is metalepsis which has been transferred from narratology to different other arts becoming a modern way of addressing the diegetic audience. We comment upon ascending, descending, horizontal metalepsis, and their effects in cinematographic art (e.g. Bergman’s, Allen’s, Haneke’s movies). Based on broken aesthetic illusions and diegetic frames, these movies offer wide possibilities to analyze self-reflexive cinematographic devices. If there is a greater level of symbolic, diegetical a
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Dissertations / Theses on the topic "Diegetic"

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Elmhammar, Julia, and Amanda Berg. "Learning the ropes through environmental and indexical storytelling : Introducing basic mechanics as a part of the world." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-21933.

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Abstrakt Diegetiska effekter, icke diegetiska effekter, indexical -och environmental storytelling i relation till tutorials, vad händer när man introducerar spelets mekaniker med hjälp av dessa?  Denna artikel undersöker hur andra spel har använt sig av ovan begrepp för att introducera mekaniker och spelvillkor. Vi kommer diskutera hur environmental -och indexical storytelling tillsammans med diegetiska och icke diegetiska visuella effekter kan påverka spelarens inlevelse och förståelse av de grundliga mekanikerna i ett spelutrymme. Till följd av ett analysarbete av designexempel undersöker vi
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Olsson, Anna. "Evaluating Immersion in Video Games Through Graphical User Interfaces." Thesis, Blekinge Tekniska Högskola, Institutionen för kreativa teknologier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-13309.

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Context. The feeling of immersion in a video game is something most game developers try to achieve. Immersion makes the player feeling like they are a part of the game they are playing, and causes them to lose track of time and space. Immersion can be achieved in many ways, one of them being through different kinds of Graphical User Interfaces. An integrated interface might help players to get more immersed. Objectives. The objective of this thesis is to find out whether an integrated or "diegetic" interface improves the feeling of immersion in players.To fullfil this objective, a prototype mu
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Touliatou, Georgia. "Diegetic stories in a video mediation : a narrative analysis of four videos." Thesis, University of Surrey, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397132.

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Hubber, Duncan. "Diegetic wounds : the representation of individual and collective trauma in found footage horror films." Thesis, Federation University Australia, 2021. http://researchonline.federation.edu.au/vital/access/HandleResolver/1959.17/179533.

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The type of horror film known as “found footage” was prominent in the 2000s and early 2010s. The term refers to films that aim to scare their audience, and which are primarily shot diegetically, with handheld and surveillance cameras that exist within the world of the film. The thesis identifies conceptual, aesthetic, and thematic links between found footage horror films and psychological trauma theory. For example, in each film the premise of the characters and viewers finding footage of a frightening event evokes the victim’s belated recollection of a traumatic experience. Additionally, the
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Östblad, Per Anders. "AUDIO-NAVIGATION : What are the benefits of utilising diegetic spatial audio in audio-navigation software?" Thesis, Högskolan i Skövde, Institutionen för kommunikation och information, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-6176.

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The task of navigating and orienting oneself in an unknown environment might seem arbitrary to most people. For a person with a visual impairment however, it can prove to be a challenge. Much research has been conducted to provide useful software solutions to aid this problem. Nevertheless, not enough research has been put into studying the use of our everyday sounds for such software. The present thesis is aimed at evaluating the usefulness of utilising diegetic spatial audio. After a real environment was replicated in a virtual audio environment without visual input, 16 sound students from t
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Wanas, Al Hussein. "Narrowing the Gap Between Imaginary and Real Artifacts: A Process for Making and Filming Diegetic Prototypes." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/3142.

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Critical Design uses designed artifacts as a critique of consumer culture. However, the complex nature of these artifacts prompted designers to focus on the artifact and present it in an informative, but relatively isolated fashion.The theoretical framework for this thesis is drawn from a similar, yet more recent, design criterion called Design Fiction. The artifacts of Design Fiction are called Diegetic Prototypes: fictional prototypes that function in the social sphere of a film’s structure. This research develops a method for analyzing and creating artifacts, in reference to psychoanalysis
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Rapp, Marcus. "Diegetiskt kontra icke-diegetiskt narrativ : En undersökning i hur två olika berättartekniker påverkar en spelares uppfattning och inlevelse i ett datorspel-narrativ." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-15444.

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I detta arbete har det undersökts huruvida ett narrativ som berättas endast genom dieges ger samma resultat som om berättelsen skulle förmedlas med hjälp av icke-dieges. Detta arbete fokuserade på den verbala berättartekninken och genom en undersökning där sex vana spelare av narrativa spel intervjuades. Undersökningen genomfördes genom semistrukturerade intervjuer där informanterna fick spela två artefakter, en diegetisk och en icke-diegetisk. Artefakterna var utformade att leverera narrativet genom tal och språk och skapades efter Walter Murch teori om kodat och inbäddat ljud. Utvärderingen
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Robinson, Jesse. "The Possibilities of Sort Of." VCU Scholars Compass, 2008. http://scholarscompass.vcu.edu/etd/1315.

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Simultaneity and conflict are incessant qualities one is confronted with when looking at things. Shifting from familiar to foreign, from present to implied. There seems to be a tendency, if not necessity to embrace this multiplicity. Using the film theory construct of extra-diegetic and relative qualifier 'sort of' to investigate Pulp Fiction, Bose Wave CD player, Sunset Boulevard, American Apparel, and The Uncanny.
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Pinchbeck, Daniel Mcguire. "Story as a function of gameplay in First Person Shooters and an analysis of FPS diegetic content, 1998-2007." Thesis, University of Portsmouth, 2009. https://researchportal.port.ac.uk/portal/en/theses/story-as-a-function-of-gameplay-in-first-person-shooters-and-an-analysis-of-fps-diegetic-content-19982007(ae0dcf2e-43a0-4549-973f-340c88ba4815).html.

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The relationship between game content and gameplay remains underexplored. High level debate about the relative narrativity of games remains common, but there is a gap in the understanding about the particularities of how diegetic objects relates to the business of managing player experience and behaviour at the heart of gameplay. The first half of this thesis proposes a new model for understanding gameplay as a network of affordance relationships which define supported actions. The theoretical focus upon supported actions rather than object characteristics enables a better understanding of the
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Taffazoli, Hosein, and Thomas Tiedemann. "Confined and Condemned : The Impact a Restricted User Interface Has on the Player Experience in Survival Horror Games." Thesis, Södertörns högskola, Medieteknik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-32753.

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In this study, we will explore how a restricted user interface affects the player experience in survival horror games. To test this, we created a digital survival horror game. The restricted user interface in the prototype resides in the player controller who has access to five different user interface elements. These elements are health, revolver, flashlight, compass and a watch. The results showed that the restriction and making the user interface diegetic did affect the player experience. This was presented through dividing the participant's experiences with the prototype in four categories
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Books on the topic "Diegetic"

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Robbert Adrianus Jacobus van der Lek. Diegetic music in opera and film: A similarity between two genres of drama analysed in works by Erich Wolfgang Korngold (1897-1957). Rodopi, 1991.

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Hvattum, Hanne Therese. Deconstructing Harry: Life, death and diegesis. LCP, 2003.

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Roland, Lillian D. Women in Robbe-Grillet: A study in thematics and diegetics. P. Lang, 1993.

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Verde, Leandro Domenico, 1981- author, ed. La diegesi filmica lucana e l'immagine cliché della Basilicata. Edizioni Giuseppe Laterza, 2013.

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Galderisi, Claudio. Diegesis: Études sur la poétique des motifs narratifs au Moyen Age (de la "Vie des Pères" aux lettres modernes). Brepols, 2004.

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Keuchler, Karsten. Wrestling Literacy. the Diegetic World of World Wrestling Entertainment. GRIN Verlag GmbH, 2014.

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Kim, So-Im. Beckett's world: Mimetic and diegetic space in his theater. 1992.

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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 setti
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Szawerna, Michal. Metaphoricity of Conventionalized Diegetic Images in Comics: A Study in Multimodal Cognitive Linguistics. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2017.

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Szawerna, Michal. Metaphoricity of Conventionalized Diegetic Images in Comics: A Study in Multimodal Cognitive Linguistics. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2017.

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Book chapters on the topic "Diegetic"

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Bridgett, Rob. "Diegetic Devices." In Working with Sound. Focal Press, 2023. http://dx.doi.org/10.4324/9781003354352-44.

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Wissner, Reba. "Diegetic Music." In David Lynch. Routledge, 2024. http://dx.doi.org/10.4324/9781003265450-3.

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Noletto, Israel A. C. "A diegetic function." In Fictional Languages in Science Fiction Literature. Routledge, 2024. http://dx.doi.org/10.4324/9781032688947-5.

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Haga, Ole Christoffer. "Shifting Diegetic Boundaries." In Screenwriting for Virtual Reality. Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-54100-1_2.

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Wissner, Reba. "Non-diegetic Music." In David Lynch. Routledge, 2024. http://dx.doi.org/10.4324/9781003265450-4.

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Köhle, Kay, Matthias Hoppe, Albrecht Schmidt, and Ville Mäkelä. "Diegetic and Non-diegetic Health Interfaces in VR Shooter Games." In Human-Computer Interaction – INTERACT 2021. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85613-7_1.

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Hettich, Katja. "Can You Hear the Love Tonight? Creating Cinematic Romance with Diegetic Songs." In When Music Takes Over in Film. Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_11.

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AbstractThis chapter argues that ‘romance’ as a film genre is best conceived of as an affective experience provided not only by narrative but also by stylistic means. Against this background, it explores a particular type of musical moment in non-musical films: scenes that portray, reflect and shape conceptions of romantic love and create various forms of cinematic romance through the diegetic use of popular songs. Drawing from research on the physical and psychological effects of listening to music, the chapter points out in which aspects songs are placed in a special relationship with romanc
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Turner, Peter. "Narration and the Diegetic Camera." In Found Footage Horror Films. Routledge, 2019. http://dx.doi.org/10.4324/9780429425486-3.

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Geal, Robert. "The Drama of the Diegetic Author." In Anamorphic Authorship in Canonical Film Adaptation. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-16496-6_8.

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Anne Brown, Sarah, Cheryl Resch, Vanessa Han, Srividya Vaishnavi Surampudi, Pratyusha Karanam, and Sharon Lynn Chu. "Capturing User Emotions in Interactive Stories: Comparing a Diegetic and a Non-diegetic Approach to Self-reporting Emotion." In Interactive Storytelling. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-62516-0_21.

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Conference papers on the topic "Diegetic"

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Cascarano, Pasquale, Andrea Loretti, Alessio Di Pasquale, et al. "Diegetic User Interfaces in Extended Reality for 3D Medical Visualization." In 2025 IEEE International Conference on Artificial Intelligence and eXtended and Virtual Reality (AIxVR). IEEE, 2025. https://doi.org/10.1109/aixvr63409.2025.00072.

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Sameti, Mozhdeh. "DIALOGUE AND DIALOGISM IN DIEGETIC DRAMA." In Proceeding of the Thirteenth International Conference at the Faculty of Foreign Languages. Alfa BK University Belgrade, 2024. https://doi.org/10.46793/lld24.134s.

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Diegetic drama is between a purely narrative text and a purely dialogical text. Diegesis (narrative) is a concept taken from Plato’s theories, usually opposed to mimesis (imitation). This type of drama became an established genre in the modern era in opposition to the classical Aristotelian drama. Brecht’s “epic theatre” is one of the well-known types of diegetic theatre and drama, whose purpose was to combat the audience’s passivity and invite them to activate their thinking. After Brecht, other dramatists, such as Beckett, created diegetic dramas combining third-person, abstract narratives (
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Lane, Nicole, and Nathan R. Prestopnik. "Diegetic Connectivity." In CHI PLAY '17: The annual symposium on Computer-Human Interaction in Play. ACM, 2017. http://dx.doi.org/10.1145/3116595.3116630.

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Bangash, Ghazal, Pranav Shaji, and Loutfouz Zaman. "HoloPaws: Run - Diegetic and Non-Diegetic User Interfaces for Mixed Reality Fitness Gaming." In CHI EA '25: Extended Abstracts of the CHI Conference on Human Factors in Computing Systems. ACM, 2025. https://doi.org/10.1145/3706599.3720061.

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Pfister, Linda, and Sabiha Ghellal. "Exploring the influence of non-diegetic and diegetic elements on the immersion of 2D games." In OzCHI '18: 30th Australian Computer-Human Interaction Conference. ACM, 2018. http://dx.doi.org/10.1145/3292147.3292190.

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Truman, Samuel, Jakob Seitz, and Sebastian von Mammen. "Stigmergic, Diegetic Guidance of Swarm Construction." In 2021 IEEE International Conference on Autonomic Computing and Self-Organizing Systems Companion (ACSOS-C). IEEE, 2021. http://dx.doi.org/10.1109/acsos-c52956.2021.00062.

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Dang, Hai, Sven Goller, Florian Lehmann, and Daniel Buschek. "Choice Over Control: How Users Write with Large Language Models using Diegetic and Non-Diegetic Prompting." In CHI '23: CHI Conference on Human Factors in Computing Systems. ACM, 2023. http://dx.doi.org/10.1145/3544548.3580969.

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Gottsacker, Matt, Nahal Norouzi, Kangsoo Kim, Gerd Bruder, and Greg Welch. "Diegetic Representations for Seamless Cross-Reality Interruptions." In 2021 IEEE International Symposium on Mixed and Augmented Reality (ISMAR). IEEE, 2021. http://dx.doi.org/10.1109/ismar52148.2021.00047.

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Dickinson, Patrick, Andrew Cardwell, Adrian Parke, Kathrin Gerling, and John Murray. "Diegetic Tool Management in a Virtual Reality Training Simulation." In 2021 IEEE Virtual Reality and 3D User Interfaces (VR). IEEE, 2021. http://dx.doi.org/10.1109/vr50410.2021.00034.

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Cao, Chong, Zhaowei Shi, and Miao Yu. "Automatic Generation of Diegetic Guidance in Cinematic Virtual Reality." In 2020 IEEE International Symposium on Mixed and Augmented Reality (ISMAR). IEEE, 2020. http://dx.doi.org/10.1109/ismar50242.2020.00087.

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