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: 28 January 2023

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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 historical one. In fact, the two meanings coexist in current scholarly usage, engendering terminological (and therefore conceptual) confusion. The goal of this article is to explain how this situation came about. Ancient Greece witnessed the emergence of the basic narratological distinction between recounting and enacting, and its gradual (and far from straightforward) association with the terminological distinction between “diegesis” and “mimesis.” A misinterpretation of Aristotle by French filmologues around 1950 gave rise to the modern meaning of “diegesis” (“storyworld,” or even simply “story”), while the misapprehension by which the ancient and modern terminologies are deemed to have arisen entirely independently of each other originates in the influential work of narratologist Gérard Genette. The story reconstructed here involves to-ing and fro-ing between words and concepts: what may appear as a purely lexical study is also, of necessity, a study about ideas. Moreover, this story might serve more generally as an apologue, reminding us of the sometimes peculiar ways in which bits of our collective wisdom emerge and become accepted.
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Neumeyer, David. "Diegetic/Nondiegetic: A Theoretical Model." Music and the Moving Image 2, no. 1 (April 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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Pascal, Marie. "L’écrit à l’écran : écriture, texte et lisibilité dans la transcréation québécoise." Canadian Journal of Film Studies 30, no. 1 (April 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 writing, distinguished by their relation to the film’s diegesis, require the reviewer to give them particular attention since, even though their presence can sometimes be ignored, such presence is not natural in the “audio-visual.” Focus on the written word is even more important for those who study film adaptations or “transcreations”, since the diegesis is, as the first witness of the “story” (Gaudreault, 1988), conveyed in writing only. The first question will thus be to analyze the characteristics of the endurance of hypotexts via the written word in transcreations and to evaluate its presence in relation to films d’auteur. The second question, which goes beyond the typology proposed by Chion, will be to see if the written word can be limited by these two poles (diegetic and extradiegetic) or if their boundaries are porous, which would imply a reflexive and metafictional dialogue in many cases.
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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 the 1970s employs this strategy at least once. Moreover, trans-diegetic music in Ashby’s films becomes a device that allows the director to elide moments in time. It functions as an editing tool, creating a bridge between often disparate events. However, it is also a narrative device that both compresses and stretches time, allowing for an on-screen confluence of events that at first appear to take place simultaneously or sequentially, but which actually occur over different moments or lengths of time. Yet while Ashby is not alone as a Hollywood director interested in exploring the formal possibilities that trans-diegesis might bring to his movies, film studies has begun only relatively recently to explore and analyse this technique. After briefly discussing the current critical discussion of trans-diegetic music and explicating patterns of its use in Ashby’s career, this paper explores an extended display of the strategy in the film Coming Home (1978). By interrogating its use as both narrative device and formal convention in this instance, the paper attempts both to understand trans-diegesis as a key component of Ashby’s filmmaking style and also to forge ahead in expanding the discussion of trans-diegesis within film studies.
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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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Dykhoff, Klas. "Non-diegetic sound effects." New Soundtrack 2, no. 2 (September 2012): 169–79. http://dx.doi.org/10.3366/sound.2012.0037.

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Samuel, Kayode M., and Samuel A. Adejube. "What a sound! Diegetic and non-diegetic music in the films of Túndé Kèlání." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 8, no. 1-2 (March 11, 2022): 274–94. http://dx.doi.org/10.4314/ejotmas.v8i1-2.15.

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The agency of music to effectively convey ideas in movies and articulate visual-emotional experience of the audience during mise-en-scene has long been established. Existing studies have focused more on the elements that characterize film as a visual experience, than on the diegetic (foreground) and non-diegetic (background) music, especially along their aural aesthetic lines. This article, therefore, investigated the aesthetic connections between traditional and performative significations of music in selected movies of Túndé Kèlání, one of Nigeria’s foremost cinematographers. Using a qualitative (videographic) research design, three movies, Ti Oluwa N’ile, Saworo Ide and K’oseegbe, were purposively selected, based on their unique aesthetic traits and distinct cultural identity quality, for content analysis. A close reading of the musical and textual data was done. Findings revealed that cultural themes in the movies, bordering on entertainment, rituals, politics, philosophy, didactic, panegyric and dirge, were projected through African and Western musical instruments, while folklore and folksongs constituted major sources of materials and cultural signifier. The authors argue that examples of the dialectic and sequential troughs in the performance of music exemplify aesthetic reinforcement, not only in terms of the didactic functionality it expresses, but also in what it conceals.
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McLean, James. "Time and relative dimensions in serialization: Doctor Who, serialization, fandom and the adaptation of a police box." Journal of Adaptation in Film & Performance 15, no. 1 (March 1, 2022): 113–30. http://dx.doi.org/10.1386/jafp_00072_1.

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This article investigates the aesthetic of the twentieth-century Metropolitan Police box and its ongoing association with the TARDIS time machine from the BBC’s television science-fiction show, Doctor Who. Doctor Who fans explore the police box aesthetic through its multiple identities, where it is celebrated, investigated and recreated. This article draws on Catherine Johnson’s theories of pseudo-diegesis and extra-diegesis to demonstrate how such fan interests have a visible effect on Doctor Who’s ongoing production decision-making. In doing so, this article argues for greater attention on non-human social actors within adaptation, and how consumer interest, enacted in multiple ways, has potential power in the shaping and reshaping, of the diegetic worlds of ongoing serializations.
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McLean, James. "Time and relative dimensions in serialization: Doctor Who, serialization, fandom and the adaptation of a police box." Journal of Adaptation in Film & Performance 15, no. 1 (March 1, 2022): 113–30. http://dx.doi.org/10.1386/jafp_00072_1.

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This article investigates the aesthetic of the twentieth-century Metropolitan Police box and its ongoing association with the TARDIS time machine from the BBC’s television science-fiction show, Doctor Who. Doctor Who fans explore the police box aesthetic through its multiple identities, where it is celebrated, investigated and recreated. This article draws on Catherine Johnson’s theories of pseudo-diegesis and extra-diegesis to demonstrate how such fan interests have a visible effect on Doctor Who’s ongoing production decision-making. In doing so, this article argues for greater attention on non-human social actors within adaptation, and how consumer interest, enacted in multiple ways, has potential power in the shaping and reshaping, of the diegetic worlds of ongoing serializations.
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Have, Iben. "The ambiguous voices of Possum." Short Film Studies 6, no. 1 (April 1, 2016): 49–52. http://dx.doi.org/10.1386/sfs.6.1.49_1.

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A categorization of the levels of the soundtrack will provide the foundation for analytical notions on how the soundtrack of Possum challenges the recipient by operating in a field between diegetic and non-diegetic, realistic and supernatural, and human and animal sounds.
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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 detta genom en egen gestaltning.
Abstract Diegetic effects, non-diegetic effects, indexical and environmental storytelling in relation to tutorials, what happens when you introduce the game's mechanics with these concepts? This article examines how other games have used these concepts to introduce mechanics and game conditions. We will discuss how environmental and indexical storytelling together with diegetic and non-diegetic effects can affect the player's perception and understanding of the basic mechanics of a game space. As a result of an analysis of design examples, we investigate this through our own design.
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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 must be made and then tested using participants who then can answer questions about their level of immersion. Methods. The prototype was built using Unity, a free game engine. The participants of the study played two different levels with two different interfaces and then answered a number of questions in a questionnaire. The questions were then analysed using the students t-test. Results. The results of the study showed there were no difference in terms of immersion in the two different interfaces. Conclusions. These results suggest there is no improvement of immersion when using a diegetic interface, compared to using a non diegetic one.
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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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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 the University of Skövde were asked to perform the same set of tasks in the virtual and the real environment. The results indicated that diegetic spatial audio is an important part of navigating without vision and that the experiment would be interesting to perform on a larger scale with visually impaired participants.
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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 theories on the human psyche and perception of objects. It then explores scenarios for presenting these artifacts as diegetic prototypes by exploring and integrating the disciplines of systems/parametric design, digital fabrication, music, animation and film. The scenarios function as micro-narratives. These micro-narratives created through the prototypes will inform the larger narrative structure of the film.
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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 visade att alla sex deltagare kunde skapa sig en viss uppfattning om narrativet men att det med icke-dieges blev tydligare vad den exakta berättelsen var.
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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 framework of gameplay created by a complex system of interrelated objects. In particular, it illustrates how the essential ludic structure of first-person games can be described in very simple terms, thus defining a discontinuity between complexity of experience and simplicity of structure. It is proposed that story is a primary means of managing this discontinuity to provide an immersive and seamless experience. Traditional models of narrative and interactive narrative are discussed to illustrate the problems of attempting to apply them directly to gameplay, and this is summarised in a discussion of the narratology/ludology debate. Instead, a new conceptualisation of narrative, drawn from the use of narrative as a model and metaphor in psychology, and based on schema theory is offered. It is argued that this new, game-specific conceptualisation - of a network of protonarrative units - maps efficiently and effectively onto the affordance model of gameplay and thus resolves the historical problem. In the second half of the thesis, evidence is offered to support the argument that not only can story be understood as a form of affordance, but that by examining commercial FPS titles, it is clear that story is used to manipulate player behaviour - that it serves a distinct gameplay function. This is achieved by analysing core elements of story: worlds and their populations; the avatar as a key device in managing the player/system relationship; and plot as the predetermined changes to object relationships over the course of a game. It is concluded that when gameplay is understood as a network of affordances, and story as a network of proto narrative units, and when the genre is analysed with this model in mind, not only is an understanding of the gameplay function of story evident, but this analysis yields a deeper level of understanding about the nature of FPS games and gameplay than has previously been available.
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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: Challenge, Analytical, Safety and Control. Participant’s enjoyed the added challenge from the restricted user interface which also helped promote the horror experience. As a drawback, a restricted user interface resulted in participants having a harder time learning the game and understanding certain game mechanics and elements.
I denna studie så kommer vi undersöka hur ett begränsat användargränssnitt påverkar spelupplevelsen i överlevnadsskräckspel. För att testa detta så skapade vi ett digitalt överlevnadsskräckspel. Det begränsade användargränssnittet i prototypen befinner sig på den spelbara karaktären som har tillgång till fem olika användargränssnitts element. Dessa element är hälsa, revolver, ficklampa, kompass och klocka. Resultaten visar att begränsningen och genom att göra användargränssnittet diegetisk påverkade spelupplevelsen. Detta var presenterat genom att dela upp deltagarens erfarenheter med prototypen i fyra olika kategorier: utmaning, analytisk, säkerhet och kontroll. Deltagare gillade ökningen i utmaning från det begränsade gränssnittet som även hjälpte stärkte skräckupplevelsen. En nackdel med ett begränsat gränssnitt var att deltagare hade det svårare att lära sig spelet samt förstå vissa spelmekaniker och spelement.
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Butler, Henry James. "Diegetic stance and its role in role playing games an examination of schema development and narrative application in digital interactive fiction /." [Gainesville, Fla.] : University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0000909.

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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). Amsterdam: Rodopi, 1991.

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

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

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

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Monodie mimetiche e monodie diegetiche: I canti a solo di Euripide e la tradizione poetica greca. Tübingen: Narr Verlag, 2012.

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Diegesis: Études sur la poétique des motifs narratifs au Moyen Age (de la "Vie des Pères" aux lettres modernes). Turnhout: Brepols, 2005.

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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). Turnhout: Brepols, 2004.

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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 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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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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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, 3–11. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-85613-7_1.

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Turner, Peter. "Narration and the Diegetic Camera." In Found Footage Horror Films, 54–78. London; New York: Routledge, 2018. |: 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, 207–19. Cham: 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, 229–42. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-62516-0_21.

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Bangura, Abdul Karim. "The Power of African Cultures: A Diegetic Analysis." In Toyin Falola and African Epistemologies, 155–83. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137492708_10.

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Pereira, Leonardo, Nuno Martins, and Daniel Brandão. "Diegetic Credits in Film and Series Title Sequences." In Springer Series in Design and Innovation, 779–91. Cham: Springer Nature Switzerland, 2022. http://dx.doi.org/10.1007/978-3-031-20364-0_65.

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Virginás, Andrea. "Electronic Screens in Film Diegesis: Modality Modes and Qualifying Aspects of a Formation Enhanced by the Post-digital Era." In Beyond Media Borders, Volume 1, 141–73. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-49679-1_4.

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Abstract The proliferation of television screens, video monitors and computer or mobile screens in film diegetic worlds is an apparently simple numeric increase of certain objects within the filmed space, conditioned by, and thus mirroring, contemporary technological changes. However, one should consider this intermediary screenic formation as a complex and versatile audiovisual and narrative method that could have emerged in this frequency only in our current post-digital era. This chapter argues that fine-tuning the model of media functioning presented in Elleström’s “The Modalities of Media” for this specific phenomenon enables a more precise description of the process along which the three presemiotic media modalities morph into the semiotic one. By presenting a systematic description of electronic screens in film diegetic worlds, and a general assessment of the intermedial processes at work, the chapter examines Euro-American films influenced by the video, respectively, the digital era and technology.
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Rothe, Sylvia, and Heinrich Hußmann. "Guiding the Viewer in Cinematic Virtual Reality by Diegetic Cues." In Lecture Notes in Computer Science, 101–17. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95270-3_7.

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Seo, Gapyuel, and Byung-Chull Bae. "Towards the Utilization of Diegetic UI in Virtual Reality Educational Content." In HCI International 2018 – Posters' Extended Abstracts, 111–15. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-92285-0_16.

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Doval, Guilherme, Flávio Almeida, and Luan Nesi. "A Semiotic and Usability Analysis of Diegetic UI: Metro—Last Light." In Springer Series in Design and Innovation, 141–53. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-86596-2_11.

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Conference papers on the topic "Diegetic"

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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. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3116595.3116630.

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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. New York, NY, USA: 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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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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Beck, Thomas, and Sylvia Rothe. "Applying diegetic cues to an interactive virtual reality experience." In 2021 IEEE Conference on Games (CoG). IEEE, 2021. http://dx.doi.org/10.1109/cog52621.2021.9619025.

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Rothe, Sylvia, Heinrich Hußmann, and Mathias Allary. "Diegetic cues for guiding the viewer in cinematic virtual reality." In VRST '17: 23rd ACM Symposium on Virtual Reality Software and Technology. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3139131.3143421.

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Ogier, Harley, and Jim Buchan. "Exploring the feasibility of diegetic in-game store user interfaces." In ACSW 2017: Australasian Computer Science Week 2017. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3014812.3014881.

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Rosyid, Harits Ar, Arief Yoga Pangestu, and Muhammad Iqbal Akbar. "Can Diegetic User Interface Improves Immersion in Role-Playing Games?" In 2021 7th International Conference on Electrical, Electronics and Information Engineering (ICEEIE). IEEE, 2021. http://dx.doi.org/10.1109/iceeie52663.2021.9616732.

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You might also be interested in the extended bibliographies on the topic 'Diegetic' for particular source types:
Journal articles Dissertations / Theses Books
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