Academic literature on the topic 'Film actable'

The article presents a formulation of the aesthetic principles in the work of Ukrainian film producer Andriy Zholdak by the example of two productions made in St. Petersburg — “Zholdak Dreams: Abductors of Feelings” and “Beyond the Curtains.” Stemming from historical premises of the phenomenon of theatricality and the conceptions of the structure of the theatrical mask expounded by the artist, the author analyzes the film producer’s actable approach to performance of a dramatic text, as well as the artistic techniques of transposition of the subjectivity of perception in the capacity of a means of formation of the stage image of the objective world. When turning to the techniques of the theatrical masque, the author researches the nature of symbiotic relations of the actor and his or her role existing in the determined stage reality of Zholdak, who is able to connect within a single spatial field the temporal strata of the text, the performer and the audience. The producer chooses the associative type of montage of episodes for the creation of the overall visual picture out of cinematographic, visual, musical and plastic means of expression. Analysis of the crucial moments of the productions helps organize the structure of the conceptual thinking of the artist, who asserts the relationship between the subjectivity of theater and the objectivity of reality as the ambivalence of the form of being. The theatrical world of Zholdak is characterized for a surrealistic principle of producing the theatrical performances, a rejection of representation and turning to deconstruction of the matrix of the theatrical play with a subsequent manifestation of its alternate reality on stage.

Lithium and titanium co-doped NiO ceramics have been found to exhibit a giant low-frequency dielectric constant (ε～105), however, the same system thin films is not yet study. In the present study, Lithium and titanium co-doped NiO thin films were prepared by a chemical solution deposition method using 2-methoxyethanol as a solvent, nickel actate tetrahydrate, lithium acetate dihydrate and titanium isopropoxide as starting materials. The complex oxides such as NiO, Ni0.2O0.8 and NiTiO3 were formed for the Ni0.98Ti0.02O and Ni0.686Li0.294Ti0.02O thin films, and the addition of the lithium lead to the formation of Li2NiO2.888. The dielectric constant of Lithium and titanium co-doped Ni0.686Li0.294Ti0.02O thin films is about 426 at 100 Hz and much higher than that of the titanium-doped Ni0.98Ti0.02O.

Esse artigo investiga a figura do ator no cinema através de uma abordagem semiológica. Pensando o filme como sistema textual, especula-se as diferentes encarnações do ator nesse contexto, onde surge o que é nomeado como “instância atoral” composta por quatro integrantes: o actante, o papel, o personagem e o comediante. A partir dessa distinção são desenvolvidos cada um desses componentes, o modo como operam e sua função interna e externa à narrativa fílmica. Os quatro integrantes da instância atoral são assim abordados como signos em processo de transformação, oscilando entre a pessoa e o mito. Define-se então a instância atoral como produtora de uma troca da qual ela mesma constitui a mais valia.

Este estudo tem por desenho norteador estabelecer uma discussão ao auditório sobre o filme de kaspar Hauser, em perspectiva do actante principal ser um desconhecido para uma sociedade Eurocêntrica, numa abordagem de uma tríade entre comunicação, olhar interacionista e visão antropológica, que geram a identificação de aspectos problemáticos na apropriação do conhecimento e da linguagem, na intercessão de uma trama no século XIX de confinamento social em construção da formação do ser humano. Criando um paradoxo de um personagem que embora tenha se mostrado único, estranho e desigual na possibilidade de ampliação da diversidade no mundo visto diferente, ele também desenvolveu a capacidade inaceitável de reproduzir a não aceitação “do outro”, do real, concreto e material, para a época. Este filme reflete uma sociedade baseada no racionalismo positivista, em que o processo de comunicação, humanização e socialização não é o resultado natural da nossa espécie, mas o resultado do aprendizado social e da identificação do grupo.

Le film actable incarne de manière emblématique la complexité de la relation entre cinéma et interactivité. L’informatisation des dispositifs fictionnels narratifs reconfigure les rapports entre l’univers de la narration et le contexte réel extradiégétique. Par le truchement du programme informatique, ces nouvelles formes de production narrative permettent la permutation intermittente et conditionnée des instances narrateur-narrataire. Fictionnel mais non immersif, diégétique plutôt que mimétiques, le film actable ouvre la voie à une coopération narrative originale, instrumentalisée et médiatisée, où la logique structurant l’action se déplace et devient métanarrative. Le travail d’analyse contextuelle actante « colle » aux objets de l’étude et parvient par la répétition méthodique d’usage à rendre compte des pratiques signifiantes dans la dynamique de la réception interactive. En appliquant certaines catégories analytiques de la narratologie à ces dispositifs hybrides, notre recherche montre que l’interactivité permet non seulement de séparer, mais aussi de réunir, sur de nouvelles bases, des modes communicationnels et représentationnels spécifiques à chaque média. La portée communicationnelle, cognitive et esthétique du film actable se situe au niveau de la visée narrative de son écriture audiovisuelle, dans l’architecture scénaristique de son interface. Parce que le système-interface décompose, modélise mais aussi synthétise des opérations factuelles et cognitives des deux côtés de l’écran, il produit l’effet de les « narrativiser ». Espace de production des actes narratifs et de leur interprétation, niveau de l’échange communicationnel entre des matériaux expressifs pluricodiques et le spectateur, l’interface est le film
Interactive film embodies the complex link between cinema and digital media. The computerization of narrative fictional devices reconfigures the relationships between the diegetic world and the extradiegetic level. By means of the computer software, these new forms of narrative works allow periodic and controlled shifts between narrator and narratee. Fictional but not immersive, diegetic rather than mimetic, the interactive film opens the way to a computerized narrative cooperation. Thus the logic structuring action moves upwards and becomes metanarrative