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Books on the topic 'Diegetic'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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

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3

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

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4

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

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5

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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6

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

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7

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

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8

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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9

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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10

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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11

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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13

Tulloch, John, and Belinda Middleweek. Brutal Intimacy. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0007.

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Chapter 5 begins with risk sociology’s understanding of intimacy as “a dogmatism for two” to explore an interdisciplinary mix of theory, including Tim Palmer’s analysis of the cinema of “brutal intimacy”; Tanya Modleski’s recognition of a current horror genre inflection of new desires for unleashing sexuality, violence, and control; Kelley Conway’s recognition of an authorship of considerable diversity in the context of films made by women about female sexuality in French culture; Raymond Williams’s concept of historical “structures of feeling”; Beck and Beck-Gernsheim’s “normal chaos of love”

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14

Hven, Steffen. Enacting the Worlds of Cinema. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197555101.001.0001.

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This book offers a substantial reconfiguration of the textual roots of modern film narratology. By giving sustained attention to cinema’s material-affective modes of communicating its stories and embedding its audience in atmospheric, kinetic, and multisensorial worlds, this book maintains that film narratives are less representations than they are enactments, brought forth through the interactions of the felt body and the film material. The book defends this enactive and media-anthropological thesis by reworking a series of established film-narratological key concepts including the diegesis,

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15

Kassabian, Anahid. The End of Diegesis As We Know It? Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.032.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. The distinction between diegetic and nondiegetic music and its critiques have become something of an industry in film music studies lately. There are articles, sections of journal issues, conference sessions, and other activities organized on the topic. As I argued inHearing Film(2001), I have never found the terminology particularly useful, though as many have suggested, we can’t throw out all sense of the distinction that the vocabulary tries to describe. T

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16

Kulezic-Wilson, Danijela. Sound Design is the New Score. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855314.001.0001.

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Sound Design Is the New Score explores film soundtrack practice that blurs the boundary between scoring and sound design, subverting long-established hierarchical relationships between dialogue, music, and sound effects. The new methods associated with this practice rely on the language and techniques of contemporary popular and art music rather than traditional Hollywood scoring and mixing practices, producing soundtracks in which it is difficult to tell the difference between score and ambient sound, where pieces of pre-existing musique concrète or electroacoustic music are merged with diege

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17

Lek, Robert Van Der. Diegetic Music in Opera and Film: A Similarity Between Two Genres of Drama Analysed in Works by Erich Wolfgang Korngold (1897-1957). Editions Rodopi, 1991.

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18

Chattopadhyay, Budhaditya. The Auditory Setting. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474474382.001.0001.

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The Auditory Setting introduces and investigates how narrative and a sense of place are constructed in film and media arts through the reproduction and mediation of site-specific environmental sounds, or ‘ambience’. Although this sonic backdrop acts as the acoustically mediated space where a story or event can take place, there has been little academic study of sound’s undervalued role in cinematic setting and its production. The aim of this book is to question classical assumptions about sound in film and media arts (e.g., image-based relationships) and shift the focus towards the site and it

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19

Buhler, James. Narratology and the Soundtrack. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199371075.003.0006.

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Chapter 6 focuses on narrative theories of film. It opens with a discussion of film narratology in general. The second section then covers narratological theories of the soundtrack, especially music, which was one of the first subsystems of film to have its theory rewritten in explicitly narratological terms. It considers contributions by Claudia Gorbman, Michel Chion, Sarah Kozoloff, Giorgi Biancorosso, Robynn Stilwell, Jeff Smith, and Ben Winters and traces how the basic conceptual distinction of diegetic and nondiegetic music has evolved. The next section examines the important narratologic

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20

Taylor, Robert. Diegesis. Kessinger Publishing, 1997.

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21

Hegarty, Paul. Grid Intensities. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0008.

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Chantal Akerman’s work of the 1970s is a sustained dissection of the connections and separations between sound and visual tracks within film. Indexicality comes under intense pressure, but is never dismissed, and the question of diegetic sound is permanently in play, as Akerman undermines easy distinctions between what is inside or beyond the accepted conventions of a film’s visual borders. This chapter argues that sound becomes a mode of structuring events and their perception, allowing a rigorous formalism to suggest not only meaning but also its fractalisation. Hearing underneath the visual

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22

Biffis, Giulia. Nostos, a Journey towards Identity in Athenian Tragedy. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198811428.003.0007.

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This chapter investigates tragedy engagement with stories of heroes’ returns, nostoi, and the idea of nostos. Surveying all occurrences of the word nostos and its cognates in tragedy, it shows how these relate to characteristic traits of nostos tales and to the building or consolidation of identity. Euripides’ Iphigeneia in Tauris is singled out, as it offers the chance to explore different strands of analysis at once: how return narratives, usually presented in diegetic mode, can be reinterpreted in a mimetic genre; how the characters’ identity is constructed through self-referential first-pe

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23

Walker, Elsie. Funny Games. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0004.

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Having established the dominant sonic patterns of Haneke’s cinema in relation to The Seventh Continent, this chapter combines an auteur-centered approach with genre studies. More specifically, it analyzes how Funny Games disobeys sonic rules of mainstream thrillers, including: a comparative lack of non-diegetic music, few stingers to punctuate shocking moments, and an absence of sexualized sounds when the female victim resists her killer. The defamiliarizing experience of Funny Games confronts us with what it means to view violence as entertainment, especially through its uncomfortable extreme

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24

Gabbard, Krin. The Vanishing Love Song in Film Noir. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038594.003.0004.

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This chapter examines the racial contradictions engendered by the presence of African American musicians in Jacques Tourneur's Out of the Past (1947) and Fritz Lang's The Blue Gardenia (1953). The title song in The Blue Gardenia sheds light on a problem common to Tourneur's and Lang's film: the subtextual association of black musical performance with the dark side of the human psyche. In other words, if the Harlem jazz scene in Out of the Past presages the materialization of the “black widow,” Kathie Moffat (Jane Greer), Nat King Cole's rendition of “Blue Gardenia” musically implicates the “wr

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25

Richardson, John. Between Speech, Music, and Sound. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.47.

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This chapter discusses the growing tendency toward aestheticization of the spoken voice in cinema. It provides a taxonomy of different means of speech aestheticization, including poetic speech; accelerated and decelerated speech; wordy or dialogue-heavy soundtracks; heightened voice and dialogue in literary adaptations; fetishization of the voice; technologically manipulated speech; aesthetically marked speech resulting from distinct physical or psychological attributes; comic timing as musicality in speech; and interaction of voices with environmental sounds or aestheticized non-diegetic soun

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26

Walker, Elsie. The Piano Teacher. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0006.

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This chapter focuses on The Piano Teacher as a complex, intertextual adaptation that draws from numerous sources, both directly and indirectly. The film clearly parallels and amplifies the sonic descriptions of an original novel by Elfriede Jelineke. We examine how The Piano Teacher also ironically engages with the sonic strategies of Classical Hollywood melodramas and musician-based dramas, and as it recontextualizes revered classical music in relation to the disturbing sadomasochistic desires of its female protagonist, Erika. The songs from Schubert’s Winterreise most closely match Erika’s c

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27

Behrooz, Anahit. Mapping Middle-earth. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350290792.

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In this cutting-edge study of Tolkien’s most critically neglected maps, Anahit Behrooz examines how cartography has traditionally been bound up in facilitating power. Far more than just illustrations to aid understanding of the story, Tolkien’s corpus of maps are crucial to understanding the broader narratives between humans and their political and environmental landscapes within his legendarium. Undertaking a diegetic literary analysis of the maps as examples of Middle-earth’s own cultural output, Behrooz reveals a sub-created tradition of cartography that articulates specific power dynamics

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28

Zeeman, Nicolette. The Arts of Disruption. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198860242.001.0001.

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The Arts of Disruption offers a series of new readings of the allegorical poem Piers Plowman: but it is also a book about allegory. It argues not just that there are distinctively disruptive ‘arts’ that occur in allegory, but that allegory, because it is interested in the difficulty of making meaning, is itself a disruptive art. The book approaches this topic via the study of five medieval allegorical narrative structures that exploit diegetic conflict and disruption. Although very different, they all bring together contrasting descriptions of spiritual process, in order to develop new underst

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29

Poli, Mattia de. Monodie Mimetiche e Monodie Diegetiche. Narr Dr., Gunter, 2012.

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30

Iyer, Usha. Dancing Women. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938734.001.0001.

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Dancing Women: Choreographing Corporeal Histories of Hindi Cinema, an ambitious study of two of South Asia’s most popular cultural forms—cinema and dance—historicizes and theorizes the material and cultural production of film dance, a staple attraction of popular Hindi cinema. It explores how the dynamic figurations of the body wrought by cinematic dance forms from the 1930s to the 1990s produce unique constructions of gender, stardom, and spectacle. By charting discursive shifts through figurations of dancer-actresses, their publicly performed movements, private training, and the cinematic an

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31

Drakontaeides, Philippos D. To menyma: Diegesis didaktike ek pollon syrrapheisa. Vivliopoleion Tes Hestias, 1990.

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32

Drakontaeides, Philippos D. He prosopse: Diegesis periechousa pleista pany oraia kai synethe. Vivliopoleion tes "Hestias"--I.D. Kollarou, 1992.

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33

Christensen, Jonas J. H. Nikephoros Blemmydes' Diegesis Merike and Self-Narrative in Monastic Foundation Documents. Lulu Press, Inc., 2016.

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34

Taylor, Robert. Remarks on the Work of the Reverend Robert Taylor, Styled the Diegesis. Franklin Classics, 2018.

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35

Remarks on the Work of the Reverend Robert Taylor, Styled the Diegesis. Creative Media Partners, LLC, 2023.

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36

Remarks on the Work of the Reverend Robert Taylor, Styled the Diegesis. Creative Media Partners, LLC, 2023.

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37

Taylor, Robert. Remarks on the Work of the Reverend Robert Taylor, Styled the Diegesis. Franklin Classics, 2018.

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38

Taylor, Robert. Remarks on the Work of the Reverend Robert Taylor, Styled the Diegesis. Creative Media Partners, LLC, 2018.

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39

Taylor, Robert. Remarks on the Work of the Reverend Robert Taylor, Styled the Diegesis. Franklin Classics Trade Press, 2018.

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40

Diegesis: Being a Discovery of the Origin, Evidences and Early History of Christianity,. Creative Media Partners, LLC, 2023.

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41

Taylor, Robert. Diegesis; Being a Discovery of the Origin, Evidences, and Early History of Christianity. Creative Media Partners, LLC, 2018.

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42

Taylor, Robert. The Diegesis; Being a Discovery of the Origin, Evidences, and Early History of Christianity. Franklin Classics Trade Press, 2018.

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43

Taylor, Robert. The Diegesis: Being a Discovery of the Origin, Evidences, and Early History of Christianity. Franklin Classics, 2018.

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44

Taylor, Robert. The Diegesis: Being a Discovery of the Origin, Evidences, and Early History of Christianity. Kessinger Publishing, 2005.

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45

Taylor, Robert. The Diegesis; Being a Discovery of the Origin, Evidences, and Early History of Christianity. Franklin Classics, 2018.

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46

Taylor, Robert. The Diegesis: Being a Discovery of the Origin, Evidences, and Early History of Christianity. Franklin Classics Trade Press, 2018.

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47

The Diegesis; Being a Discovery of the Origin, Evidences, and Early History of Christianity. Franklin Classics, 2018.

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48

Women in Robbe-Grillet: A Study in Thematics and Diegetics (American University Studies Series II, Romance Languages and Literature). Peter Lang Pub Inc, 1994.

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49

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

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50

Analectes Yprois, Ou Recueil de Documents inédits Concernant la Ville d'ypres, Publ. Par I. L. A. Diegerick. Creative Media Partners, LLC, 2018.

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