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Journal articles on the topic 'Diegetic'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

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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2

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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3

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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4

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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6

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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7

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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8

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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9

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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10

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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11

Dykhoff, Klas. "Non-diegetic sound effects." New Soundtrack 2, no. 2 (2012): 169–79. http://dx.doi.org/10.3366/sound.2012.0037.

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12

Coëgnarts, Maarten. "Embodying the Audiovisual Scene." Projections 17, no. 2 (2023): 62–85. http://dx.doi.org/10.3167/proj.2023.170204.

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Abstract This article provides an embodied cognitive account of sound in film. Treating sound and image as equal partners, we first develop a spatial model for film sound that is based on the inferential logic of the container image schema; an embodied schema which has been argued to play a pivotal role in human reasoning. Next, we use this model to distinguish between three kinds of dynamic sound patterns of containment in film: (1) sound vectors that cross the on-screen/off-screen border within diegetic space, (2) sound vectors that shift from one diegetic time and/or space into another, and

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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 (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 qualita

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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 (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 n

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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 (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 n

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16

Have, Iben. "The ambiguous voices of Possum." Short Film Studies 6, no. 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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Tsybina, T. A. "The functions of film credits in the diegetic and non-diegetic space of a film." Pyatigorsk State University Bulletin, no. 1 (2021): 125–29. http://dx.doi.org/10.53531/25420747_2021_1_125.

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18

Solska, Dagmara. "Multitextuality in RPGs: a ludonarrative synergy model for video game text analysis." Homo Ludens, no. 1(16) (November 26, 2024): 163–80. http://dx.doi.org/10.14746/hl.2023.16.8.

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The article presents the textual potential of games and distinguishes between the types of texts in text-heavy video games. Text types are categorized according to the diegetic/non-diegetic situation vis-à-vis the game world and primary text function. It is assumed that role-playing games (RPGs) such as Divinity: Original Sin 2 (Larian Studios, 2017) encompass a greater volume of textual material. The proposed corpus analysis model is based on the concept of ludonarrative synergy, text and discourselinguistics, and methods of natural language processing (NLP) and computational linguistics. Two

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19

Prince, Gerald. "Diegetic Narrators and Narrations in Proust’s Recherche." Style 58, no. 4 (2024): 417–30. https://doi.org/10.5325/style.58.4.0417.

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ABSTRACT There are many characters in Proust’s Recherche who are explicitly presented as diegetic narrators telling stories, explicitly mentioned as producers of anecdotes or mini-narratives designated as such. Some of them are important characters (Oriane, Odette, Swann), and some are little more than extras (M. de Bréauté, the Dowager Countess d’Argencourt). Some narrate more frequently than others, and some prove to be effective narrators whereas others do not. Whatever their source or value, the mini-narratives narrated in the diegesis fulfill a number of functions, including one of inform

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20

Milostivaya, Alexandra. "Undercover Reporting on Refugees in European Union: Diegetic Narration." SHS Web of Conferences 50 (2018): 01108. http://dx.doi.org/10.1051/shsconf/20185001108.

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The article considers characteristics of telling stories in diegesis on the material of newspaper narrative. The aim of the article is examining communicative and pragmatic parameters of German newspaper reportages under the conditions of transformation of a multi-chronotope paper narrative model with the help of displacement of a communicative act of a narrator and a reader into the temporal and local space of the described characters. As examples of diegetic journalist texts, Shams Ul-Haq’s reports are considered that are outstanding specimen of German journalism. The reporter came from Paki

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21

Halskov, Andreas. "‘I just had a dream about it’: Subjectivity, sensitivity and sonic impressionism in Avondale Dogs." Short Film Studies 9, no. 1 (2019): 39–42. http://dx.doi.org/10.1386/sfs.9.1.39_1.

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Using montage editing, close-ups and subjective sound, the award-winning short film Avondale Dogs (1994) tells the story of a young boy and his dying mother. The protagonist, Paul, is quiet and sensitive, and his inner turmoil is conveyed through conspicuous cuts and a vivid use of diegetic and non-diegetic sound.

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22

Langbour, Nadège. "Le labyrinthe comme motif métadiscursif dans la création littéraire de Christian Grenier." Cahiers ERTA, no. 38 (June 28, 2024): 9–26. http://dx.doi.org/10.4467/23538953ce.24.008.19931.

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The labyrinth motif appears regularly in Christian Grenier's novels. In diegesis, it is always linked to myth and the fates of Daedalus, Theseus and Ariadne. It is also a diegetic motif that structures the setting, organizes the characters' quest and generates suspense. But this motif is above all a metadiscursive metaphor that theorizes the author's writing. In particular, he evokes the meandering construction of police intrigues. It also represents the referential games developed by Christian Grenier: By mixing the words of other writers with his own, offers his readers the opportunity to en

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23

Mazey, Paul. "Restrained Airs: The Diegetic Surface and Nondiegetic Depth of British Film Music." Journal of British Cinema and Television 16, no. 4 (2019): 429–43. http://dx.doi.org/10.3366/jbctv.2019.0493.

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This article considers how pre-existing music has been employed in British cinema, paying particular attention to the diegetic/nondiegetic boundary and notions of restraint. It explores the significance of the distinction between diegetic music, which exists in the world of the narrative, and nondiegetic music, which does not. It analyses the use of pre-existing operatic music in two British films of the same era and genre: Kind Hearts and Coronets (1949) and The Importance of Being Earnest (1952), and demonstrates how seemingly subtle variations in the way music is used in these films produce

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24

Feyersinger, Erwin. "Diegetic Short Circuits: Metalepsis in Animation." Animation 5, no. 3 (2010): 279–94. http://dx.doi.org/10.1177/1746847710386432.

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25

Smith, Jennifer. "Voices, Combat, and Music." Journal of Sound and Music in Games 2, no. 2 (2021): 42–62. http://dx.doi.org/10.1525/jsmg.2021.2.2.42.

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Role-playing video games can highlight a sense of player identification with a pre-made player-character through the inclusion of the voice; this can include diegetic character dialogue, the non-diegetic sung voice, and voice-overs. Ensuring that the player can connect with their player-character on an individual level is key to forming a suspension of disbelief and immersion with a game. Final Fantasy XV emphasizes collaboration between the player, player-characters, and non-playable characters during combat, cutscenes, and exploration. This camaraderie effect actively engages the player with

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Manullang, Jonathan. "Suara dan Memori Propaganda: Asosiasi Sound Narrative dalam On The Origin of Fear." IMAJI: Film, Fotografi, Televisi, & Media Baru 14, no. 3 (2023): 180–88. http://dx.doi.org/10.52290/i.v14i3.136.

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Kajian ini bertujuan mengeksplorasi pemanfaatan audio sebagai elemen sentral dalam film pendek On The Origin of Fear oleh Bayu Prihantoro Filemon. Dengan menggunakan pendekatan kualitatif melalui analisa deskriptif, tulisan ini hendak memaparkan bagaimana penggunaan non-diegetic dan diegetic sound yang tepat mampu menunjukkan bahwa memori alam bawah sadar penonton secara kolektif telah tercemar dengan asosiasi tertentu yang merujuk pada suatu momen kelam dalam sejarah republik.

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López Alzate, Yasmín. "Metafiction and subjectivity in American Pastoral by Philip Roth." Íkala, Revista de Lenguaje y Cultura 17, no. 3 (2012): 273–84. http://dx.doi.org/10.17533/udea.ikala.12435.

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American Pastoral is proposed in this article as consisting of two narrative levels in which the life of the main character is deployed, that is a diegetic level and metadiegetic level. Then, various metafictional resources are analysed, particularly a reorganization of narrative levels. On the basis of the proposed division, the article explores American Pastoral as a novel which, through the use of metafiction, reconstructs and challenges the subjectivity of the main character set out in the diegesis. Based on the metafictional turning point, a parallel is then established between the main c

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MEIER, Niklas, Konstantin FONTAINE, and André FIEBIG. "A method for studying the effect of diegetic vs. non-diegetic rating interfaces on the assessment of virtual acoustic environments." INTER-NOISE and NOISE-CON Congress and Conference Proceedings 270, no. 5 (2024): 6987–92. http://dx.doi.org/10.3397/in_2024_3896.

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Auditory perception experiments conducted in VR come along with a high degree of ecological validity while maintaining a controlled laboratory setting. However, since the participant's vision is occupied during simulation, conventional evaluation instruments like rating scales need to be relocated to the virtual environment to allow for immediate stimulus rating. This can be achieved either by the use of diegetic interfaces, which are implied to be a part of the simulation (e.g., a screen held by the participant's avatar) or non-diegetic interfaces, which do not claim to originate from the sim

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Romanovskaya, Olga E. "Types of narrators in A. Slapovsky’s cycle Foggy Alleys." Izvestiya of Saratov University. Philology. Journalism 25, no. 2 (2025): 212–21. https://doi.org/10.18500/1817-7115-2025-25-2-212-221.

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The article deals with the study of the narrative aspect of the cycle of stories by A. Slapovsky Foggy Alleys. The author uses narratological method of analysis developed by the Russian and foreign specialists in literature. The research is aimed at studing different types of narrators in A. Slapovsky’s cycle. The typology is based on the binary opposition: there are non-diegetic and diegetic narrators in the cycle. The non-diegetic narrator of A. Slapovsky’s stories is characterized by implicitness, by the focus on the character’s point of view. The non-diegetic narrator produces the characte

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Zovko, Aljoša. "The Interplay of Silence, Diegetic Sound and Music in Contemporary German Cinema." Hum, no. 25 (February 4, 2022): 58–66. http://dx.doi.org/10.47960/2303-7431.25.2021.58.

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Scholarly works on film sound are vastly outnumbered by works on film visual aspects. One reason for this discrepancy lies in the “hegemony of the visual”. Another may be the dominance of the visual in the cinema viewing experience, which results in our being naturally less attuned to how we are affected by the aural aspect. Nonetheless, the interaction of music, diegetic sound, and silence plays a vital role in achieving the director’s intention in creating a film and is crucial to establishing the bond between the film and its viewer. In his paper, the author shows, on the example of German

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Kriel, Johanet. "A (Tall) Tale of Two Sisters: Integrating rhetorical and cognitive-pragmatic approaches to explore unreliable narration in film." Acta Academica: Critical views on society, culture and politics 47, no. 2 (2015): 34–53. https://doi.org/10.38140/aa.v47i2.1495.

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There is a sustained debate in the academy about the role of narratology in film studies. This article forms part of this larger debate in exploring the application of the concept of unreliable narration to films, specifically to Jee-woon Kim’s little-known but exceptional film A Tale of Two Sisters (2003). A dispute surrounding this narratological device has centred on how readers or viewers determine that the narration deviates from diegetic truth. Two major strands of narratology have given divergent answers to this question: the rhetorical approach has been in favour of aligning diegetic t

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Pronin, Alexander А. "The Diegetic Narrator in the Documentary-Portrait." Vestnik of Saint Petersburg University. Language and Literature 13, no. 3 (2016): 157–66. http://dx.doi.org/10.21638/11701/spbu09.2016.318.

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Mitarcă, Monica. "Voice-over, music, diegetic sound and pornography." Porn Studies 2, no. 1 (2015): 93–95. http://dx.doi.org/10.1080/23268743.2014.995952.

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Capucci, Matteo. "Diegetic Representation of Feedback in Open Games." Electronic Proceedings in Theoretical Computer Science 380 (July 28, 2023): 145–58. http://dx.doi.org/10.4204/eptcs.380.9.

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Rafferty, Barclay. "The new ‘Othello Music’: From the play text to opera, diegetic/non-diegetic soundtracks and popular music allusions." Journal of Adaptation in Film & Performance 8, no. 3 (2015): 195–211. http://dx.doi.org/10.1386/jafp.8.3.195_1.

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Beattie, Melissa. "‘You can get it if you really want?’: The use of Caribbean music genres in Death in Paradise." Journal of Popular Television, The 10, no. 3 (2022): 231–46. http://dx.doi.org/10.1386/jptv_00081_1.

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Set on the fictional Caribbean island of Saint Marie and filmed on Guadeloupe, British/French co-production Death in Paradise (2011–present) frequently uses reggae, amongst other perceived local styles, as its diegetic and non-diegetic music. Reggae is historically a music of resistance, specifically resistance to oppression by White colonial power structures. That a British/French co-production uses reggae to reinforce an elided pan-Caribbean location featuring a White, male, British or Irish DI in charge of a local Black police force can be read as stereotypical. When added to a British/Fren

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Pigulak, Joanna. "Dźwięki reaktywne, dźwięki antycypujące. Z zagadnień funkcjonowania ścieżki dźwiękowej w grach wideo." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 28, no. 37 (2021): 317–27. http://dx.doi.org/10.14746/i.2020.37.18.

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   The paper aims to outline features of video games’ sounds. In order to do that, the author presents the main thesis of ludomusicology and a theory of film music. The first part of the paper deals with a brief introduction concerning the characteristic of two important aspects of video games’ sounds: reactive and anticipating sounds. In the second part of the paper, the author explores the issue of facultative dialogues and adaptive sounds, as well as diegetic and non-diegetic sources of sound. The author examines the hypothesis that using sounds in video games determines g

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Yang, Xiran, and Jonathan Webster. "To be continued: meaning-making in serialized manga as functional-multimodal narrative." Semiotica 2015, no. 207 (2015): 583–606. http://dx.doi.org/10.1515/sem-2015-0066.

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AbstractThis paper discusses meaning-making in serialized adventure manga (Japanese comics) by examining its metafunctional organization. Manga, whose components cover a multimodal cline from graphics to verbals, is seen as a multimodal narrative whose features are mapped onto the different metafunctions: time – experiential, with diegetic time lapse defining the start point to construe experience; cause-effect – logical, with relative positioning of components reflecting logical relations diegetically; space – compositional, with diegetic and extradiegetic spaces contributing to the coherence

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Park, Chaiyeon, and Jiyoon Kim. "A Study on UI Design to Increase Immersion in Mobile FPS Games: Call of Duty: Mobile Focus." Korean Society of Culture and Convergence 45, no. 8 (2023): 123–31. http://dx.doi.org/10.33645/cnc.2023.08.45.08.123.

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This study proposes an optimized UI design to increase the immersion of mobile FPS games played in first person. To this end, based on the research of Fagerholt and Lorentzon, who analyzed game UI design in depth, we studied game UI elements that increase player immersion and provide an optimized game experience. The research subject of the thesis was selected as the current UI of the popular mobile FPS game Call of Duty: Mobile, and it was classified based on the 6 elements of immersion related to the game UI. Finally, through a hybrid design proposal that balances diegetic UI and non-diegeti

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Masi, Leonardo. "Fellini and Popular Music." Załącznik Kulturoznawczy, no. 9 (2022): 447–62. http://dx.doi.org/10.21697/zk.2022.9.22.

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Through some examples taken from Nights of Cabiria, La Dolce Vita and The Voice of the Moon, the essay explores Federico Fellini’s attitude towards popular music, which plays a particularly relevant and original role in his films. Characters like Cabiria or Salvini identify themselves with popular music and are immersed in its particular taste, in contrast with other characters represented by classical music (Lazzari, Steiner, Gonnella). Popular music appears in some key moments of the three films and comes to unblock a stalemate on the level of the plot. Moreover it often creates “magical” mo

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Naidenov, Yana. "Spectrality and the Plural Body: A Comparative Study of the Works of Apichatpong Weerasethakul and Korakrit Arunanondchai." Intersectional Perspectives: Identity, Culture, and Society, no. 3 (May 20, 2024): 52–79. http://dx.doi.org/10.18573/ipics.124.

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This article surveys the role of the spectral body as a device of transgression, multiplicity and entanglement, through a comparative study of the film Uncle Boonmee Who Recalls His Past Lives (2010), by the contemporary artist and filmmaker Apichatpong Weerasethakul, and short film installation by contemporary artist Korakrit Arunanondchai, titled No History in a Room Filled with People with Funny Names 5 (2018) at Serralves Contemporary Art Museum, Porto, co-produced with Alex Gjovic and boychild. The body enacts a spectral, pluralistic device in the narrative strategies devised by the autho

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Lorek-Jezińska, Edyta. "Mimesis in Crisis: Narration and Diegesis in Contemporary Anglophone Theatre and Drama." Text Matters, no. 7 (October 16, 2017): 353–67. http://dx.doi.org/10.1515/texmat-2017-0019.

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The main objective of my article is to investigate the ways in which contemporary Anglophone drama and theatre actively employ diegetic and narrative forms, setting them in conflict with the mimetic action. The mode of telling seems to be at odds with the conviction not only about the mimetic nature of performance and theatre but also about the growing visuality of contemporary theatre. Many contemporary performances and dramatic texts expose the tensions between the reduction of visual representations and the expansion of the narrative space. This space offers various possibilities of explori

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SALNIKOVA, EKATERINA V. "Diegetic Invisible/Vanishing in Silent Cinema and its Origins." Art and Science of Television 18, no. 1 (2022): 49–78. http://dx.doi.org/10.30628/1994-9529-2022-18.1-49-78.

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The article studies the early silent cinema motif of disappearance or invisibility of bodies in a frame. In adventure and adventure-fantasy films, this motif performs a whole set of functions. Using the example of several films, I uncover its rich semantic potential. Further on, the mythological origins of the motif are analyzed, as are the role of theater, circus, attraction and fairy tale in the prehistory of the diegetic disappearing. Attention is paid to the aesthetics of the trick in Georges Méliès’ films, where the condition and location of the vanishing body remain uncertain. Narrative

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Lauridsen, Palle Schantz. "Genhør med dogme 95 [Dogme 95 reheard]." MedieKultur: Journal of media and communication research 26, no. 48 (2010): 17. http://dx.doi.org/10.7146/mediekultur.v26i48.2116.

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Assuming that the 10 Danish Dogma films can be considered genre films, the article analyses the use of sound and music in these films. The “Vow of Chastity” proposed by the Dogma directors specifies that sound and image must never be produced separately, and the article presents elements of productions practice as well as aesthetic considerations. Using examples from the finished films, it demonstrates how the artistic intention formulated in the set of rules was handled during production and how it influenced the finished films. The individual Dogma films were quite different from an auditory

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Harder, M. Annette. "Insubstantial Voices: Some Observations on the Hymns of Callimachus." Classical Quarterly 42, no. 2 (1992): 384–94. http://dx.doi.org/10.1017/s0009838800016013.

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The hymns of Callimachus are generally divided into two groups: the ‘mimetic’ hymns (2, 5 and 6), which seem to be enactments of ritual scenes, and the ‘nonmimetic’ hymns (1,3 and 4), which seem to follow the pattern of the Homeric hymns. Occasionally this distinction has been challenged, for instance by pointing to an' element of mimesis inH. 1, but on the whole the division into two groups has been 1 adhered to rather rigidly. A drawback of this distinction is that it seems to prevent further insight into an important aspect of Callimachus' poetic technique. I think that there is in fact a s

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Poznin, Vitaliy F. "Metaphor in Cinema: Specifics of its Creation and Perception." Journal of Flm Arts and Film Studies 9, no. 4 (2017): 60–70. http://dx.doi.org/10.17816/vgik9460-70.

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The main feature of a metaphor is the transfer of the characteristics of one object to another one, i.e. categorical shift of meanings and a new semantic content arising as a result of it. Unlike the linguistic metaphor, which is actually a tightened, compressed similarity or contiguity, the local cinema metaphor as a rule is a visual comparison of specific objects. The author analyzes the difference and interaction of verbal and visual metaphors. Some features of creating a non-diegetic cinema metaphor are like a mechanism of creating a hieroglyph, because screen metaphors are often a way of

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Brodahl, Greta. "Jean-Philippe Toussaint." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 55, no. 2 (2019): 214–36. http://dx.doi.org/10.1075/rro.17007.bro.

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Abstract The purpose of this article is to study the intertextual play in four novels grouped under the label « MARIE MADELEINE MARGUERITE DE MONTALTE » by the Belgian author Jean-Philippe Toussaint. The theoretical tool to study this phenomenon is the theory of intertextuality and the intertextual typology in particular, extracted from Gérard Genette’s Palimpsestes: la littérature au second degré (1982) and Tiphaine Samoyault’s Intertexte, Mémoire de la littérature (2001). The main question the study raises is what function the intertexts occupy in the tetralogy. The article distinguishes bet

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Karkiewicz, Magdalena. "Metalepsa jako strategia narracyjna w dziełach literackich i filmowych (analiza zjawiska na wybranych przykładach)." Załącznik Kulturoznawczy, no. 2 (2015): 384–475. http://dx.doi.org/10.21697/zk.2015.2.23.

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Logically forbidden transition, the impossible transgression, fictional characters moving through the boundaries between levels of (un)reality and the attempt to cross the ‘frames’ of artistic presentation constitute the essence of the subject of this dissertation: the metalepsis. This term, originally derived from the rhetoric, was annexed to narratology field in 1972 by a French theoretician, Gérard Genette. In his book Figures III, he described a narrative metalepsis (ʻla métalepse narrativeʼ) as ʻany intrusion by the extradiegetic narrator or narratee into the diegetic universe (or by dieg

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Bliudov, Daniil Vladimirovich. "The “subjective microphone” technique in M. Khutsiev’s film “I am Twenty”." Человек и культура, no. 4 (April 2023): 121–28. http://dx.doi.org/10.25136/2409-8744.2023.4.43674.

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The object of research in this article is the actor speech in the cinema of the "Khrushchev Thaw" period. The subject of the research is the artistic specifics of the recorded speech in the film "I am Twenty." The article analyzes the use of "subjective microphone" technique in the sound landscape of the film "I Am Twenty" by Marlen Khutsiev. The aesthetic and technical aspects of the use of the above technique have been analyzed in detail. "Subjective microphone" is considered by the author as part of the updated speech style that appeared in Soviet cinema in the era of the " Khrushchev Thaw.

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Nina Penner. "Rethinking the Diegetic/Nondiegetic Distinction in the Film Musical." Music and the Moving Image 10, no. 3 (2017): 3. http://dx.doi.org/10.5406/musimoviimag.10.3.0003.

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