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Journal articles on the topic 'Diegetisk'

Author: Grafiati

Published: 4 June 2021

Last updated: 11 February 2022

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1

Jørgensen, Kristine. "Lyd som grensesnitt: Når dataspillets lyd bliver funksjonell." MedieKultur: Journal of media and communication research 22, no. 40 (June 23, 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 forståelse av lydens rolle, mens HCI-studier kan si noe om lydens rolle i datamaskinbaserte miljøer og hvilke teknikker som benyttes når lyd brukes til informative formål.

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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 (September 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 (November 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 (April 1, 2016): 49–52. http://dx.doi.org/10.1386/sfs.6.1.49_1.

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A categorization of the levels of the soundtrack will provide the foundation for analytical notions on how the soundtrack of Possum challenges the recipient by operating in a field between diegetic and non-diegetic, realistic and supernatural, and human and animal sounds.

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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 historical one. In fact, the two meanings coexist in current scholarly usage, engendering terminological (and therefore conceptual) confusion. The goal of this article is to explain how this situation came about. Ancient Greece witnessed the emergence of the basic narratological distinction between recounting and enacting, and its gradual (and far from straightforward) association with the terminological distinction between “diegesis” and “mimesis.” A misinterpretation of Aristotle by French filmologues around 1950 gave rise to the modern meaning of “diegesis” (“storyworld,” or even simply “story”), while the misapprehension by which the ancient and modern terminologies are deemed to have arisen entirely independently of each other originates in the influential work of narratologist Gérard Genette. The story reconstructed here involves to-ing and fro-ing between words and concepts: what may appear as a purely lexical study is also, of necessity, a study about ideas. Moreover, this story might serve more generally as an apologue, reminding us of the sometimes peculiar ways in which bits of our collective wisdom emerge and become accepted.

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10

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

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11

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 (December 1, 2015): 195–211. http://dx.doi.org/10.1386/jafp.8.3.195_1.

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12

Halskov, Andreas. "‘I just had a dream about it’: Subjectivity, sensitivity and sonic impressionism in Avondale Dogs." Short Film Studies 9, no. 1 (January 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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13

Mazey, Paul. "Restrained Airs: The Diegetic Surface and Nondiegetic Depth of British Film Music." Journal of British Cinema and Television 16, no. 4 (October 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 markedly different effects. Specifically, it investigates the meaning of the music in its original context and finds that only when this bears a narrative relevance to the film does it cross from the diegetic to the nondiegetic plane. This reveals that whereas music restricted to the diegetic plane may express the outward projection of the characters' emotions, music also heard on the nondiegetic track may reveal a deeper truth about their feelings. In this way, the meaning of the music varies depending upon how it is used. While these two films may differ in whether or not their pre-existing music occupies a nondiegetic or diegetic position in relation to the narrative, both are characteristic of this era of British film-making in using music in an understated manner which expresses a sense of emotional restraint and which marks the films with a particularly British inflection.

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14

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 multiple characters through the constant use of the diegetic spoken voice to communicate between the player-character, Noctis, and the three other character identities, Prompto, Ignis, and Gladiolus. The game’s opening rendition of Ben E. King’s “Stand by Me,” performed by Florence + the Machine, provides the player with four narrative themes that are present throughout the game. These themes include a coming-of-age story, character relationships, and the development of a greater evil within the narrative. Unique in its position as a pre-composed song, “Stand by Me” plants the idea that the player will not be alone in their journey, as character allies will stand by Noctis, from the beginning of the game. Final Fantasy XV uses vocalizations in both the diegetic and non-diegetic audio space in order to reflect the characteristics of the playable characters. The vocal relationship between the player’s characters provides directional feedback and information for the player within combat, alongside foretelling the stories of certain characters.

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15

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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16

DEAN, ROBERT. "Naturalizing the artifice: The integration of diegetic theatre music." Studies in Musical Theatre 5, no. 3 (January 20, 2012): 257–70. http://dx.doi.org/10.1386/smt.5.3.257_1.

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17

Purse, Lisa. "Affective Trajectories: Locating Diegetic Velocity in the Cinema Experience." Cinema Journal 55, no. 2 (2016): 151–57. http://dx.doi.org/10.1353/cj.2016.0008.

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18

Dean, Robert. "Diegetic Musical Motifs in Ibsen'sA Doll's HouseandJohn Gabriel Borkman." Ibsen Studies 11, no. 01 (June 2011): 51–70. http://dx.doi.org/10.1080/15021866.2011.575644.

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19

Winters, B. "The Non-diegetic Fallacy: Film, Music, and Narrative Space." Music and Letters 91, no. 2 (April 26, 2010): 224–44. http://dx.doi.org/10.1093/ml/gcq019.

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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 Pakistan and settled in Germany. The given reportages were made using the method of undercover observation, when the journalist is disguised as a described character and is a communicator in diegesis. The research makes it possible to conclude that pragmatically meaningful positions in narrative are the chronotope, the voices of the storyteller and the described characters, communicating with recipients. The article confirms the thesis of relevance of speech act synergy for optimization of persuasion in the research report with the help of displacement of the narrator/journalist into the environment of the described characters, where he can start a dialogue with the characters and the reader.

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21

Jeremy Barham. "Plundering Cultural Archives and Transcending Diegetics: Mahler’s Music as “Overscore”." Music and the Moving Image 3, no. 1 (2010): 22. http://dx.doi.org/10.5406/musimoviimag.3.1.0022.

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22

Yang, Xiran, and Jonathan Webster. "To be continued: meaning-making in serialized manga as functional-multimodal narrative." Semiotica 2015, no. 207 (October 1, 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 and cohesion of the story. The overarching interpersonal aspect of manga makes it a medium of exchange between the author and the reader and encourages the reader to actively decode idiosyncratic meanings.

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23

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 (March 31, 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 gameplay and impacts players immersion.

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24

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 exploring the distance between the performers and spectators, tensions between narrative time and place and the present time of performance, the real and the imagined/inauthentic/fake, traumatic memory and imagination. The active foregrounding of the diegetic elements of performance will be exemplified with reference to several contemporary plays and performances: my focus will be on the uses of epic forms in what can be called post-epic theatre, illustrated by Kieran Hurley’s Rantin (2013); the foregrounding of the diegetic and the undecidability of the fictional and the real, instantiated by Forced Entertainment’s performances (Showtime, 1996) and Martin McDonagh’s The Pillowman (2003); and the narrative density and traumatic aporia of Pornography (2007) by Simon Stephens.

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25

Strykowski, Derek R. "The Diegetic Music of Berg’sLulu: When Opera and Serialism Collide." Journal of Musicological Research 35, no. 1 (January 2, 2016): 1–22. http://dx.doi.org/10.1080/01411896.2015.1082066.

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26

O'NEILL, JAMES, and FRAUKE HEIN. "Office Humour: Diegetic Explorations of Negotiated Algorithmic and Human Agency." Ethnographic Praxis in Industry Conference Proceedings 2019, no. 1 (November 2019): 23. http://dx.doi.org/10.1111/1559-8918.2019.01252.

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27

Milic, Sasa. "10.5937/kultura1442113m = Knowledge and the diegetic world of feature film." Kultura, no. 142 (2014): 113–34. http://dx.doi.org/10.5937/kultura1442113m.

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28

Arntfield, Michael. "TVPD: The Generational Diegetics of the Police Procedural on American Television." Canadian Review of American Studies 41, no. 1 (March 2011): 75–95. http://dx.doi.org/10.3138/cras.41.1.75.

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29

Lauridsen, Palle Schantz. "Genhør med dogme 95 [Dogme 95 reheard]." MedieKultur: Journal of media and communication research 26, no. 48 (May 17, 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 point of view, but among the auditory characteristics of the films were the auditory jump cut and the abolition of the traditional dichotomy between diegetic and non-diegetic music.

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30

Poznin, Vitaliy F. "Metaphor in Cinema: Specifics of its Creation and Perception." Journal of Flm Arts and Film Studies 9, no. 4 (December 15, 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 describing an abstract concept through the connection of images of concrete objects. A particular object can acquire a metonymic and metaphorical meaning due to the context of episode. For modern figurative language of cinema a diegetic metaphor is more organic, because this one is a part of the screen narration. A significant role in the creation of the diegetic screen metaphor plays both the previous experience and the short-term memory of the viewer, helping him/ her to apprehend the metaphor. The questions considered in the article are just a small part of the theory of screen metaphor, which includes the consideration of such kinds of metaphor as orientational (spatial), conceptual, dynamic, color and sound metaphor, as well as analysis of a metaphor usage in different genres of animation, documentary, comedy.

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31

Smith, Jennifer. "Vocal disruptions in the aural game world: The female entertainer in The Witcher 3: Wild Hunt, Transistor and Divinity: Original Sin II." Soundtrack 11, no. 1 (August 1, 2020): 75–97. http://dx.doi.org/10.1386/ts_00006_1.

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The voice as disruption is not a new concept. Disruptions to discourses, relationships and lifestyles can be caused by the insertion of the voice. In video games, voices can be disruptive to player progressions, gameplay and character relationships through dialogue and performances. The female entertainer frequently disrupts the aural space of a game through her uniqueness as a performer at the forefront of the diegetic space, using song to tell her own story. The video games The Witcher 3: Wild Hunt (2015), Transistor (2014) and Divinity Original Sin II (2017) use diegetic female entertainer voices to disrupt the video game’s continuity. These case studies consider performance as disruption to gameplay, which is significant for the growth of the story and its characters, alongside the player’s understanding of the game’s musical meanings.

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32

Pascal, Marie. "L’écrit à l’écran : écriture, texte et lisibilité dans la transcréation québécoise." Canadian Journal of Film Studies 30, no. 1 (April 2021): 25–48. http://dx.doi.org/10.3138/cjfs-2019-0019.

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From the first movies to talkies, films have never been able to completely emancipate from language, the main way of communicating a story, and thus to ignore the written word. It can however be surprising that the written word hasn’t completely disappeared, even retaining an important role in talking cinema, since actors can now express themselves verbally and the audience can gather, thanks to the audio, all the information required to understand. There still remain some traces of writing on the screen, which Chion (2013) distinguishes as being “diegetic” or “non-diegetic.” Several types of writing, distinguished by their relation to the film’s diegesis, require the reviewer to give them particular attention since, even though their presence can sometimes be ignored, such presence is not natural in the “audio-visual.” Focus on the written word is even more important for those who study film adaptations or “transcreations”, since the diegesis is, as the first witness of the “story” (Gaudreault, 1988), conveyed in writing only. The first question will thus be to analyze the characteristics of the endurance of hypotexts via the written word in transcreations and to evaluate its presence in relation to films d’auteur. The second question, which goes beyond the typology proposed by Chion, will be to see if the written word can be limited by these two poles (diegetic and extradiegetic) or if their boundaries are porous, which would imply a reflexive and metafictional dialogue in many cases.

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33

Killander Cariboni, Carla. "La sceneggiatura teatrale inedita di “La Virtù di Checchina”." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 52, no. 2 (December 8, 2017): 282–300. http://dx.doi.org/10.1075/rro.52.2.11kil.

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Sommario This article deals with a comparison between Matilde Serao’s short story “Checchina’s Virtue” (1884) and the homonymous unpublished theatrical script written by Massimo Franciosa (1995), of which a summary is provided. The comparison between the source text and the adaptation draws on the debate about the narrativity of drama in which many scholars have engaged in the last decades: Richardson (1987), Chatman (1990), Jahn (2001), Fludernik (2008) and Nünning & Sommer (2008). The analysis focuses on two forms of diegetic narrativity that appear in the short story, i. e. free indirect discourse and the iterative mode, in order to see how the theatrical script deals with them. The analysis shows that the script preserves the narrative contents of the source text and highlights how diegetic and mimetic narrativity collaborate to the reworking and redistribution of those contents.

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34

Morrison, Simon Andrew. "“Clubs aren’t like that”: Discos, Deviance and Diegetics in Club Culture Cinema." Dancecult 4, no. 2 (2012): 48–66. http://dx.doi.org/10.12801/1947-5403.2012.04.02.03.

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35

White, Mimi. "Crossing Wavelengths: The Diegetic and Referential Imaginary of American Commercial Television." Cinema Journal 25, no. 2 (1986): 51. http://dx.doi.org/10.2307/1225459.

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36

Carson, Robert. "Diegetic Labor History - Bisbee ’17 (Film, directed by Robert Greene, 2018)." Journal of the Gilded Age and Progressive Era 19, no. 1 (November 29, 2019): 171–73. http://dx.doi.org/10.1017/s1537781419000562.

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37

Virginás, Andrea. "On the Role of Diegetic Electronic Screens in Contemporary European Films." Acta Universitatis Sapientiae, Film and Media Studies 15, no. 1 (October 1, 2018): 87–102. http://dx.doi.org/10.1515/ausfm-2018-0005.

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Abstract Given the present proliferation of profilmic electronic screens in narrative feature films, it is of some interest to examine their role apart from that of denoting objects pertaining to everyday reality. Electronic screens within the European-type filmic diegeses – characterized by adhering to conventions of (hyper)realism, non-hypermediation and character-centered storytelling – in a digital era are used not only as props, but as frames that re-order and aestheticize levels of reality (Odin 2016), while focusing, in a hypnotic manner, the viewers’ attention (Chateau 2016) on traumatic memories related to usually female characters, and consequently to the collectivities they represent in the respective diegetic worlds. These electronic screens force the viewer to constantly shift between the actual cinematic screen conventions and the mental screen (Odin 2016) of smaller formats, training the film viewers for experiences of expanded and fragmented cinema (Gaudreault and Marion 2015).

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38

Mundler, Helen. "Pornography as Ludism and Diegetic Interpenetration in A.S. Byatt’s Babel Tower." Polysèmes, no. 8 (January 1, 2007): 131–41. http://dx.doi.org/10.4000/polysemes.1705.

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39

Harwood, Tracy, Tony Garry, and Russell Belk. "Design fiction diegetic prototyping: a research framework for visualizing service innovations." Journal of Services Marketing 34, no. 1 (December 19, 2019): 59–73. http://dx.doi.org/10.1108/jsm-11-2018-0339.

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Purpose The purpose of this paper is to present a design fiction diegetic prototyping methodology and research framework for investigating service innovations that reflect future uses of new and emerging technologies. Design/methodology/approach Drawing on speculative fiction, the authors propose a methodology that positions service innovations within a six-stage research development framework. The authors begin by reviewing and critiquing designerly approaches that have traditionally been associated with service innovations and futures literature. In presenting their framework, authors provide an example of its application to the Internet of Things (IoT), illustrating the central tenets proposed and key issues identified. Findings The research framework advances a methodology for visualizing future experiential service innovations, considering how realism may be integrated into a designerly approach. Research limitations/implications Design fiction diegetic prototyping enables researchers to express a range of “what if” or “what can it be” research questions within service innovation contexts. However, the process encompasses degrees of subjectivity and relies on knowledge, judgment and projection. Practical implications The paper presents an approach to devising future service scenarios incorporating new and emergent technologies in service contexts. The proposed framework may be used as part of a range of research designs, including qualitative, quantitative and mixed method investigations. Originality/value Operationalizing an approach that generates and visualizes service futures from an experiential perspective contributes to the advancement of techniques that enables the exploration of new possibilities for service innovation research.

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40

Axelson, Tomas. "Vernacular Meaning Making." Nordicom Review 36, no. 2 (October 1, 2015): 143–56. http://dx.doi.org/10.1515/nor-2015-0022.

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Abstract The outcome of an audience study supports theories stating that stories are a primary means by which we make sense of our experiences over time. Empirical examples of narrative impact are presented in which specific fiction film scenes condense spectators’ lives, identities, and beliefs. One conclusion is that spectators test the emotional realism of the narrative for greater significance, connecting diegetic fiction experiences with their extra-diegetic world in their quest for meaning, self and identity. The ‘banal’ notion of the mediatization of religion theory is questioned as unsatisfactory in the theoretical context of individualized meaning-making processes. As a semantically negatively charged concept, it is problematic when analyzing empirical examples of spectators’ use of fictional narratives, especially when trying to characterize the idiosyncratic and complex interplay between spectators’ fiction emotions and their testing of mediated narratives in an exercise to find moral significance in extra-filmic life. Instead, vernacular meaning-making is proposed.

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41

Duranti, Marco. "La condanna del prologo diegetico euripideo dagli scoli antichi ai trattati del Cinquecento." Anabases, no. 29 (April 14, 2019): 135–48. http://dx.doi.org/10.4000/anabases.8762.

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Reyfman, Boris V. "NON-DIEGETIC AESTHETIC FACT IN THE SPACE OF FILM: CHRISTIAN PERSONALISTIC CONTEXT." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 5 (2019): 148–65. http://dx.doi.org/10.28995/2686-7249-2019-5-148-165.

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Rødje, Kjetil. "Intra-Diegetic Cameras as Cinematic Actor Assemblages in Found Footage Horror Cinema." Film-Philosophy 21, no. 2 (June 2017): 206–22. http://dx.doi.org/10.3366/film.2017.0044.

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This article proposes a reconceptualization of the term “actor” within motion pictures and presents the argument that “acting” is a matter of distributed agency performed by heterogeneous assemblages. What constitutes an actor is what I will label as a “cinematic actor assemblage,” a term that comprises what is commonly known as human actors as well as material entities that play an active part in motion picture images. The use of intra-diegetic cameras in contemporary found footage horror films constitutes a particular case of such cinematic actor assemblages. Through a dynamic relational performance, cameras here take on roles as active agents with the potential to affect other elements within the images as well as the films’ audiences. In found footage horror the assemblage mode of operation creates suspense, since the vulnerability of the camera threatens the viewer's access to the depicted events. While human characters and individual entities making up the camera assemblage are disposable, the recording is not. Found footage horror crucially hinges upon the survival of the footage. I will further suggest that these films allow filmmakers to experiment with the acting capabilities of intra-diegetic cameras.

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Delazari, Ivan. "Overhearing Diegetic Music in Narrative Fiction: Instances of Verbally Transmitted Musical Experience." Narrative 26, no. 2 (2018): 221–39. http://dx.doi.org/10.1353/nar.2018.0011.

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Egbert, Simon, and Bettina Paul. "Devices of Lie Detection as Diegetic Technologies in the “War on Terror”." Bulletin of Science, Technology & Society 35, no. 3-4 (June 2015): 84–92. http://dx.doi.org/10.1177/0270467616634162.

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Holbrook, Morris B. "Ambi‐diegetic Music in the Movies: The Crosby Duets in High Society." Consumption Markets & Culture 8, no. 2 (June 2005): 153–82. http://dx.doi.org/10.1080/10253860500112859.

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Bazylev, Vladimir Nikolayevich. "NEW THINKING: STARTING AND TO DEEPENING (MIKHAIL GORBACHEV AS А DIEGETIC NARRATOR)." Политическая лингвистика, no. 6 (2018): 10–19. http://dx.doi.org/10.26170/pl18-06-01.

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Hunter, Aaron. "When is the now in the here and there? Trans-diegetic music in Hal Ashby’s Coming Home." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 36–48. http://dx.doi.org/10.33178/alpha.3.03.

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While it would be a stretch to classify Hal Ashby as a postmodernist filmmaker (with that term’s many attendant ambiguities), his films of the 1970s regularly evince post-Classical stylistic and narrative strategies, including non-linear time structures, inter-textual self-references, open endings, and nuanced subversions of the fourth wall. Ashby’s most consistently playful approach to form comes by way of his integration and development of trans-diegetic musical sequences within his body of work. Music in Ashby films creates a lively sense of unpredictability, and each of his seven films of the 1970s employs this strategy at least once. Moreover, trans-diegetic music in Ashby’s films becomes a device that allows the director to elide moments in time. It functions as an editing tool, creating a bridge between often disparate events. However, it is also a narrative device that both compresses and stretches time, allowing for an on-screen confluence of events that at first appear to take place simultaneously or sequentially, but which actually occur over different moments or lengths of time. Yet while Ashby is not alone as a Hollywood director interested in exploring the formal possibilities that trans-diegesis might bring to his movies, film studies has begun only relatively recently to explore and analyse this technique. After briefly discussing the current critical discussion of trans-diegetic music and explicating patterns of its use in Ashby’s career, this paper explores an extended display of the strategy in the film Coming Home (1978). By interrogating its use as both narrative device and formal convention in this instance, the paper attempts both to understand trans-diegesis as a key component of Ashby’s filmmaking style and also to forge ahead in expanding the discussion of trans-diegesis within film studies.

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Poluliashina, Daria I. "REPRESENTATION OF IDENTITY CRISIS IN KSENIYA BUKSHA’S BOOK «OPENS INWARD»." Vestnik of Kostroma State University, no. 2 (2020): 198–203. http://dx.doi.org/10.34216/1998-0817-2020-26-2-198-203.

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This article is devoted to analyses of representation of identity crisis disconnection between personality and character, consciousness diffusion, existential search of my own self) in Kseniya Buksha’s book «Opens inward». Firstly, we analyse complicated structural subject organisation of the text (diegetic and extradiegetic narrator, focalisators), which coexist in one statement. Secondly, it is investigated how diegetic space correlates with internal world of heroes. We come to conclusion 18 tales of this book are the narrative of subject of speech. He narrates about his traumatic experience by the voices of the heroes who can be interpreted as refl ections of fragmentary, non-intact consciousness. Invariant plot of trying to restore a defi cit of identity is constructed by unit cumulative scheme. Final disaster leads subject either to gaining his identity or to fi nal catastrophe. Analysing of the scheme of the plot, composition, subject system, system of cross-cutting personages and details allows to make a conclusion about structural unity based on invariant sense. It is the idea of overcoming of existential inertia.

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Feldt, Laura. "Religion, fantasyfilm og fantastiske væsener:." Religionsvidenskabeligt Tidsskrift, no. 70 (May 25, 2020): 1–25. http://dx.doi.org/10.7146/rt.v0i70.120512.

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ENGLISH ABSTRACT: This article discusses the nexus of religion and media on the basis of an analysis of one example of religion in popular culture: the expansion of J.K. Rowling’s Harry Potter series in the book Fantastic Beasts and Where to Find Them (2001) and the subsequent film by the same title connected to the book (directed by David Yates, screenplay by J.K. Rowling 2016). I present a study of religion-based, media-focused approach to film analysis that distinguishes between verbal and non-verbal aspects of mediation. The analysis treats the mediation of religion – traditional religion, magic and monstrous beings – in the film, as well as the mediality of the film. The analysis shows that the film forms part of a broader trend that portrays traditional religion as ossified and authoritative, while magic, monsters and green religion are represented as fascinating and attractive. Moreover, I argue that the mediality of the film sustains a blurring of boundaries between worlds in terms of the film-internal world structure, in terms of the diegetic vs. the afilmic world, and in terms of the hu-man vs. the nonhuman world. The key argument of the article is that pop-cultural me-dia constitute an important arena for religion, as media such as fantasy films both re-flect and form religious transformations today. This arena needs more attention in the study of religion. DANSK RESUME: Denne artikel diskuterer religion og medier ud fra en analyse af et eksempel på religion i populærkultur, nemlig en videreudvikling relateret til J.K. Row-lings Harry Potter univers: udgivelsen af bogen Fantastic Beasts and Where to Find Them (2001), en bog der er fiktivt indlejret som undervisningsbog på Hogwarts School of Wizardry and Witchcraft, og den senere filmatisering der knytter sig til bo-gen, Fantastic Beasts and Where to Find Them (instrueret af David Yates, screenplay af J.K. Rowling 2016). Artiklen præsenterer en religionsvidenskabelig, mediefokuseret tilgang til filmanalyse, der inkluderer både verbale og non-verbale medierings-aspekter. Analysen behandler fremstillingen af religion – hhv. traditionel religion, magi og det monstrøse – i det filmiske univers, samt filmens medialitet. Analysen viser, at filmen indlejrer sig i en bredere trend, hvor traditionel religion fremstilles som forstenet og autoritær, mens magi, monstre og grøn religion fremstilles positivt og tiltrækkende, samt endvidere at filmens medialitet understøtter en udviskning af grænserne mellem verdener både i den tekst-interne verdensstruktur, mellem den diegetiske og den afilmi-ske verden, samt mellem den humane og den non-humane verden. Artiklen argumente-rer grundlæggende for at populærkulturelle medier såsom fantasyfilm udgør en vigtig arena for religion, og at denne arena bør behandles religionsvidenskabeligt, da den både afspejler og former religiøse forandringer i samtiden.

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