Academic literature on the topic 'Diegetisk'

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Journal articles on the topic "Diegetisk"

1

Jørgensen, Kristine. "Lyd som grensesnitt: Når dataspillets lyd bliver funksjonell." MedieKultur: Journal of media and communication research 22, no. 40 (2006): 9. http://dx.doi.org/10.7146/mediekultur.v22i40.519.

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Lyd i dataspill har en større rolle enn å være en atmosfæreskaper. Den har også en viktig funksjonell rolle ved å gi informasjon som er relevant for såvel proaktive som reaktive spillerhandlinger. Denne artikkelen har til hensikt å diskutere lydens funksjonelle rolle i spill. Som analyseeksempler blir stealthspillet Hitman Contracts og real-time strategispillet Warcraft III brukt, og disse vil bli belyst av begreper fra to teoretiske retninger. Filmteoretiske ideer som forholdet mellom diegetisk og ekstradiegetisk lyd, samt Chions forståelse av forskjellige lyttemåter er sentrale for en videre
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2

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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3

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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4

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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5

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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6

Zoppelli. "IL TEATRO MUSICALE OTTOCENTESCO COME STRUTTURA DIEGETICA." Revista de Musicología 16, no. 6 (1993): 3135. http://dx.doi.org/10.2307/20796921.

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7

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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8

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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9

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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10

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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