Books: 'Diegetic'

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). Amsterdam: Rodopi, 1991.

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2

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

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3

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

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4

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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5

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

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6

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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7

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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8

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

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9

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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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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12

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

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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14

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”; and Giddens’s “transformation of intimacy.” Within these contexts, the films Twentynine Palms, Trouble Every Day, and Irréversible are analyzed textually, exploring genre, narrative, visual shot style, diegetic/non-diegetic sound, and spatial mapping (and the disruption of all these categories), with a particular focus on the road film Twentynine Palms.

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15

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, mood/atmosphere, and the distinction between diegetic and nondiegetic sound. In the process, this book draws on a wide range of contemporary theoretical resources such as media-philosophy, philosophy of mind, Deleuzian film philosophy, atmosphere research, affect theory, affective neuroscience, and ecological perception theory. Additional resources include a broad selection of films, including Berlin: Symphony of a Great City (directed by Ruttmann 1927), The Cranes Are Flying (directed by Kalatozov 1957), and Happy as Lazzaro (directed by Rohrwacher 2018).

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16

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. The problem, however, amps up exponentially when video games and Web sites are added to the mix. The use of music in “new media” challenges most of film music studies’ assumptions and presumptions, and these new practices demand new approaches and vocabulary. This chapter focuses on the challenges posed to film music studies models by digital media practices.

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17

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 diegetic sound, sound effects are absorbed into the score or treated as music, and diegetic sound is treated as musique concrète. The book argues that the underlying principle that binds together all the different manifestations of this practice is a musical approach to soundtrack conceived as an integrated whole. The aesthetic concerns of this practice, demonstrated in a resistance to the familiar tropes of classical narrative and scoring, are illuminated through the concept of the aesthetics of reticence, which encourages an intellectual, affective, and sensuous engagement with film. The sensuous aspect of this practice is theorized using the concept of the erotics of art, arguing that the sensuousness of film form—its sonic and visual textures, composition, rhythm, movement, and flow—is much more complex and sophisticated than simply being an emphasis on excessive sensory stimulation facilitated by the use of digital technology or the aesthetics inspired by it.

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18

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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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 narratological concept of focalization as it applies to music in film, drawing on the work of Guido Heldt and concludes with a brief discussion of focalization in Casablanca.

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20

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 its sonic environment, whose presence is often carefully constructed in a film or media artwork’s diegetic world as a vital narrative strategy. The emphasis on site in the book enables an informed investigation of an essentially anthropogenic process of the sonic environment’s mediation and (re)production. Sonic environments are inhabited, experienced, exploited and transformed every day, their corporeality augmented by human agency in mediated forms. The human agency of sonic environments is crucial to unwrap in order to understand cultural expectations from the audiovisual media; greater awareness is required of narration, depiction, communication and artistic production approaches and affordances harnessed through media technologies. Drawing on theories of narrative, diegesis, mimesis and presence, and following a varied number of relevant audio-visual works, this book is a ground-breaking exploration of human agency in mediating environmental sounds and the nature of the sonic experience in the Anthropocene.

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21

Taylor, Robert. Diegesis. Kessinger Publishing, 1997.

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22

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 and political strategies of Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) and News from Home (1976) via Saute ma ville (1968), Je tu il elle (1974) and Les rendez-vous d’Anna (1978), we can sense a pulsing of meaning that expands the film event into intermediality.

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23

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-person speech narratives that describe a separation from home and the desire to return to it; how these narratives have at their centre the mutual relationship between the narrating subject and his/her own community (family ties included); and finally, how these autobiographical narratives in particular articulate nostoi motifs from a female perspective, being mainly uttered by women.

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24

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 extremes of sonic bombast (including the music of John Zorn), its terrifying use of everyday sounds, and its extended quiet around scenes of most terror and grief. Like the family of victims, we are forced into subjection by the killers who “direct” most of the film’s sounds, along with being made to experience the silent and beyond-verbal agony of its victims.

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25

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 “wrong woman,” Norah Larkin (Anne Baxter), and, by extension, the real culprit, Rose Miller (Ruth Storey). Thus, diegetic black music in both films acts as the clue to the “mystery,” a stereotypical one that speaks volumes about the intimate, fraught connection between classic noir and black popular-musical performance.

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26

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 sounds. Undoubtedly, this phenomenon is bound up with proliferation of digital technologies, which means that previous inaudible sounds can be perceived with increased clarity and sonic manipulation is accomplished with little effort. Occupying a liminal zone between speech and song, flowing speech in cinema is suspended in the middle stage of what Rick Altman calls “audio dissolve,” where the actor in a musical inflects her speech aesthetically while transitioning into song and dance.

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27

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 conception of herself, and we explore how film incorporates them to sonically stress her ultimate aloneness. In addition, we place emphasis on Erika’s silences that leave her disempowered without those cathartic sonic consolations (such as empathetic non-diegetic music) that often provide a fantasy of female transcendence. The film’s feminist emphasis on such silences parallels Jelinek’s text, along with intensifying Haneke’s subversively uncomfortable, intertextually loaded creation.

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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 understanding and excite moral or devotional change. These five structures are: the paradiastolic ‘hypocritical figure’ (such as vices masked by being made to look like ‘adjacent’ virtues), personification debate, violent language and gestures of apophasis, narratives of bodily decline, and grail romance. Each appears in a range of texts, which the book explores, along with other connected materials in medieval rhetoric, logic, grammar, spiritual thought, ethics, medicine, and romance iconography. These allegorical narrative structures appear radically transformed in Piers Plowman, where the poem makes further meaning out of the friction between them. Much of the allegorical work of the poem occurs at the points of their intersection, and within the conceptual gaps that open up between them. Ranging across a wide variety of medieval allegorical texts, the book shows from many perspectives allegory’s juxtaposition of the heterogeneous and its questioning of supposed continuities.

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29

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 and extra-diegetic narratives woven around their dancing bodies, the book considers the “women’s question” via new mobilities corpo-realized by dancing women. Some of the central figures animating this corporeal history are Azurie, Sadhona Bose, Vyjayanthimala, Helen, Waheeda Rehman, Madhuri Dixit, and Saroj Khan, whose performance histories fold and intersect with those of other dancing women, including devadasis and tawaifs, Eurasian actresses, oriental dancers, vamps, choreographers, and backup dancers. Through a material history of the labor of producing on-screen dance, theoretical frameworks that emphasize collaboration, such as the “choreomusicking body” and “dance musicalization,” aesthetic approaches to embodiment drawing on treatises like the Natya Sastra and the Abhinaya Darpana, and formal analyses of cine-choreographic “techno-spectacles,” Dancing Women offers a variegated, textured history of cinema, dance, and music. Tracing the gestural genealogies of film dance produces a very different narrative of Bombay cinema, and indeed of South Asian cultural modernities, by way of a corporeal history co-choreographed by a network of remarkable dancing women.

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30

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

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31

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

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32

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

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33

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

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34

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

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35

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

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36

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

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37

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

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38

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

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39

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

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40

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

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41

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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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

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

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44

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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45

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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46

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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47

Papanikolaou, Eftychia. On the British Reception of Ken Russell’s Mahler. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199316090.003.0009.

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Ken Russell’s Mahler (1974) constitutes aesthetically and historically one of the most idiosyncratic and rewarding composer biopics. With a train as locus of the diegesis, the narrative provides overlapping flashbacks interspersed with fantasy and dream sequences. The viewer must put together Mahler’s life as if in a temporal puzzle, in a non-teleological fashion that contrasts with the linear progression of time implied by the train’s journey. Despite historical inconsistencies and extravagant presentation, the film offers commentary on a composer still being discovered. Its visual and aural synchronisations between Mahler’s memories and his music re-construct and manipulate Mahler’s—and also the audiences’—memories, and comment on the reception of Mahler’s life and music at that particular point in time, thus perpetuating existing images and ideologies. Rather than a study in myth-making, making encapsulates and appropriates the reception of the Mahler myth.

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48

Lopez, Jeremy. Dumb show. Edited by Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.15.

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This chapter examines the theatrical experience provided by early modern dumb shows and the critical tradition that has emerged around them. It argues that dumb shows are a threshold between drama and theatricality, and that they vividly represent not only the contest between text and performance for authority over theatrical meaning, but also the tendency of each to displace this authority onto the other. In the canon of early modern theatre and in the modern critical tradition, dumb shows are often a sign of a derivative theatricality directed at a merely popular audience. In the dumb show, there is an especially complex and self-conscious encounter between word and action, diegesis and mimesis, presentational vehicles and represented fiction. As a moment of extraordinary semiotic density and redundancy, the dumb show was at once too readerly for the stage and too spectacular for the printed book. The chapter also considers ‘Hamlet’s advice to the players’ and its implications for approaches and responses to the dumb show.

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49

Rickels, Laurence A. Mister V and the Unmournable Animal Death. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422734.003.0012.

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This chapter focuses on the unmournable nature of animal death, turning to Heidegger, Freud and Melanie Klein (as advocates of both successful and unsuccessful mourning, first and second deaths) as entry points for an analysis of Emilie Deleuze’s 2003 film, Mister V. The film tracks the changes in relationality incurred when the eponymous psychotic horse escapes and tests not only the boundaries of the film’s diegesis but also its own discursive fabulation. Here man, as majority figure, is not an option for becoming. Man must be divested of his majoritarian status before he can become other. In this regard, ‘becoming-animal’ is the missing link between man and ‘becoming multiple’, so that the metamorphosis necessarily entails a ‘loss’ as initiation so that we can enter the substitutive order of becoming-other. This is not necessarily incompatible with Freud. Indeed, the two main trajectories of the latter’s thought: 1) totemic identification and 2) castration (as an initiation into the ‘management’ of loss or lack) also separate out as tendencies of unmourning and ‘successful mourning’, of first and second deaths, respectively. Both are compatible with the anti-Oedipal momentum of Deleuze and Guattari’s schizoanalysis.

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Books on the topic 'Diegetic'

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