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Relevant bibliographies by topics / Filmic language

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Academic literature on the topic 'Filmic language'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 June 2025

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Journal articles on the topic "Filmic language"

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Bort-Mir, Lorena, Marianna Bolognesi, and Susan Ghaffaryan. "Cross-cultural interpretation of filmic metaphors: A think-aloud experiment." Intercultural Pragmatics 17, no. 4 (2020): 389–416. http://dx.doi.org/10.1515/ip-2020-4001.

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AbstractThe purpose of this study is to investigate how viewers who speak different languages interpret cinematographic metaphors in a filmic advertisement. The study is organized in three parts: First, we offer a theoretical model that predicts the offline mental mechanisms that occur while people interpret filmic metaphors, based on an existing model of visual metaphor processing. Second, we evaluate the model in a think-aloud retrospective task. A TV-commercial is projected individually to 30 Spanish, 30 American, and 30 Persian participants, who are then asked to verbalize their thoughts. The commercial was previously segmented, analyzed using FILMIP (Filmic Metaphor Identification Procedure), and marked for metaphoricity by two independent analysts. The collected data is then evaluated in two formal content analyses. In the first one, two independent coders classified all the clauses used by the 90 participants in relation to the steps outlined in the theoretical model. In the second analysis, those clauses in which the participants were constructing their metaphorical interpretation of the filmic advertisement were annotated for the type of metaphor they constructed. The general results show that: (1) some mental processes seem to be more prominent in some cultures and not in others, and (2) genre-related knowledge plays a crucial role in constructing filmic metaphors in certain cultures and not in others. With this study, we theoretically formalize and empirically test the types of operations reflected in the language that viewers use to describe how they interpret filmic metaphors, thus advancing the current theory and methods on filmic metaphor interpretation from cognitive, semiotic, and cross-cultural perspectives.

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Bort-Mir, Lorena. "Going Up Is Always Good: A Multimodal Analysis of Metaphors in a TV Ad with FILMIP, the Filmic Metaphor Identification Procedure." Complutense Journal of English Studies 28 (September 21, 2020): 177–89. http://dx.doi.org/10.5209/cjes.66959.

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Conceptual Metaphor Theory developed by Lakoff & Johnson (1980) suggested that we use metaphors to evaluate and communicate in our various environments. Although metaphors encompass a large variety of taxonomies, orientational metaphors are those that rely on spatial position to map concepts into other ones, referring to a relation of valence and verticality. Stated by Kövecses (2010) conceptual metaphors such orientational ones draw ‘upward’ and ‘downward’ spatial positions in which ‘upward’ is usually referred to as having positive connotations, whereby their opposites, ‘downwards’, are understood as negative. This paper seeks to unveil how the orientational metaphor good is up is employed in a filmic narrative of a language learning application for technological devices named Babbel. The present analysis is developed under the application of FILMIP (Filmic Metaphor Identification Procedure, Bort-Mir 2019). In the analyzed narrative, the orientational metaphor good is up is represented in the Babbel TV commercial (2018) as a tool for persuading customers that the best way of escalating positions at work is by learning new languages. This analysis demonstrates how orientational metaphors in multimodal media emerge as a convenient device for marketing campaigns in the context of social status improvement.

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Conley, Tom. "Deleuze and the Filmic Diagram." Deleuze Studies 5, no. 2 (2011): 163–76. http://dx.doi.org/10.3366/dls.2011.0016.

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This article aims to consider how the ‘diagram’ or ‘little machine’ is integral to the dissociative, at once polyvocal and polymorphous writing that marks the work of Blanchot and that, in turn, informs the disjunctive – hence critical and productive – operation within the register of Deleuze's writings on cinema. I shall consider a number of Deleuze's ‘keywords’ or recurring formulas as diagrams, that is, as intermediate configurations at once visual and lexical, in order to show how, like rebuses or ideograms, they form collisions and ruptures of voice and graphic form, in order to bring forward the ‘outside’ of thought – what cannot be put into language yet is conveyed in language.

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Lievois, Katrien, and Aline Remael. "Audio-describing visual filmic allusions." Perspectives 25, no. 2 (2016): 323–39. http://dx.doi.org/10.1080/0907676x.2016.1213303.

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De Rosa, Gian Luigi. "Null subjects in contemporary Brazilian filmic speech." Gragoatá 25 (July 31, 2020): 244–67. http://dx.doi.org/10.22409/gragoata.v25iesp.34794.

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The present research, based on a corpus of contemporary Brazilian filmic speech – Urban Carioca Sub-Corpus from the I-Fala Corpus of Luso-Brazilian Film Dialogues as a resource for L1 & L2 Learning and Linguistic Research (DE ROSA et al., 2017) –, illustrates how Brazilian Portuguese (BP) has undergone a process of change regarding the representation of referential subjects. A preference for overt pronominal subjects is on the rise, thus transitioning contemporary Brazilian Portuguese from a null subject language to a partial null subject language. The current paper revisits De Rosa (2017), this time including third person subjects and using actual film dialogue transcriptions rather than scripts. The occurrence of null and overt subjects in the corpus is discussed both quantitatively and qualitatively. -----------------------------------------------------------------------------------------SUJEITOS NULOS NA FALA FÍLMICA BRASILEIRA CONTEMPORÂNEAO presente contributo, baseado numa amostra de fala fílmica brasileira contemporânea – Urban Carioca Sub-Corpus do I-Fala: Corpus of Luso-Brazilian Film Dialogues as a resource for L1 & L2 Learning and Linguistic Research (DE ROSA et al., 2017) –, propõe-se observar o processo de transformação que está atingindo o português brasileiro (PB) que está perdendo, à luz de toda uma série de mudanças linguísticas, as caraterísticas de uma língua de sujeito nulo. Nesse contributo, revisitamos De Rosa (2017), incluindo os sujeitos de terceira pessoa, sempre com o objetivo de registrar, em termos quantitativos e qualitativos, a presença do sujeito pleno nos diálogos fílmicos analisados e de confrontar os resultados com os dados da fala espontânea.---Original em inglês.

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Brown, Daniel. "Wilde and Wilder." PMLA/Publications of the Modern Language Association of America 119, no. 5 (2004): 1216–30. http://dx.doi.org/10.1632/s0030812900101701.

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The use of Oscar Wilde's Salome as the ground for the silent-screen star Norma Desmond's film script and character is central to Billy Wilder's Sunset Boulevard but oddly neglected by the film's critics. This essay reads the film through its engagement with Salome, discussing its adoption from the play of a self-consciousness about the conditions of its art, which extend beyond the film's production to cultural history and film aesthetics. Norma asserts the image and ideology of the Hollywood star through her identification with the aestheticist figure of Salome, while Joe Gillis not only writes film scripts but, with his peers Betty Schaefer and Artie Green, also foregrounds narrative conventions in his efforts to organize and control his own life and experience in the film. Through its main characters, Sunset Boulevard presents an allegory of Hollywood cinema in which the complementary filmic principles of image and narrative culminate respectively in madness and death.

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Noletto, Israel Alves Corrêa, and Sebastião Alves Teixeira Lopes. "Heptapod B and whorfianism. Language extrapolation in science fiction." Acta Scientiarum. Language and Culture 42, no. 1 (2020): e51769. http://dx.doi.org/10.4025/actascilangcult.v42i1.51769.

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The Sapir-Whorf hypothesis states that the language someone speaks shapes their thoughts. Although this view may have fallen into disrepute in the field of linguistics, its influence, the Whorfianism, has been the number one showcase in science fiction works that somehow approach language, and more specifically, invented languages. This paper uses Ted Chiang’s award-winning novella Story of your life (1998) and its filmic adaptation Arrival (2016) directed by Denis Villeneuve and written by Eric Heisserer as a case study to investigate this literary phenomenon. The considerations of Guy Deutscher (2010), Stockwell (2006) and Ria Cheyne (2008), as well as the authors’ own viewpoints, are vitally important for that. The result is a speculative and comparative analysis that contributes to a better understanding of the frequent connexion of science fiction, glossopoesis and Whorfianism.

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Byczkiewicz, Victoria. "Filmic Portrayals of Cheating or Fraud in Examinations and Competitions." Language Assessment Quarterly: An International Journal 1, no. 2&3 (2004): 195–204. http://dx.doi.org/10.1207/s15434311laq12&3_9.

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Byczkiewicz, Victoria. "Filmic Portrayals of Cheating or Fraud in Examinations and Competitions." Language Assessment Quarterly 1, no. 2-3 (2004): 195–204. http://dx.doi.org/10.1080/15434303.2004.9671785.

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Stańko, Paweł. "Cowboy and Samurai Values and Their Exponents in the Western "A Fistful of Dollars" (1964) and Its Predecessor the Samurai Movie "Yojimbo" (1961): Proposal of a Methodological Framework for Axiological Analyses of Multimodal Filmic Texts." Anglica Wratislaviensia 57 (October 4, 2019): 149–65. http://dx.doi.org/10.19195/0301-7966.57.12.

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This paper focuses on the issue of valuations and values in the chosen movies linked by the relationship of remaking. Its goal is to show that the complexity of multimodal texts, to which filmic texts and therefore remakes belong, makes it necessary to examine the axiological level of film texts too. In this way we hope to prove that the amply justified and evidenced axiological aspects of language cf. Krzeszowski, Angels, Aspekty, Equivalence; Puzynina, “Językoznawstwo”, Język are also a property of primarily visual film texts. Consequently, the very aspects of the relationship of remaking itself that the two films share, i.e. the fact that the film A Fistful of Dollars 1964 is a remake of Yojimbo 1961, is not examined in this paper. Instead, we restricted our attempt to showing how axiological charges and values are expressed in the process of remaking. The basis of the analysis is the compositional level and the compositional-narrative structure of filmic texts, a choice which correlates with the approach to multimodality of filmic texts described in Post Film. The sample axiological analysis presented in the fourth section of this paper relies on the approaches of Krzeszowski Angels, Meaning, Puzynina “Językoznawstwo”, Język and Post Film. With the instruments selected from these works we underline the differences and similarities between values and axiological charges present in both films as well as their importance and impact on the overall meaning of filmic segments.

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Dissertations / Theses on the topic "Filmic language"

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Stewart, Morgan Keith. "Bodies of Light: Affect and the Filmic Gaze in Horacio Quiroga's Cinema Stories." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6377.

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Though Horacio Quiroga is better known for his jungle tales, he was also a prolific film critic. Writing in the early days of silent cinema, Quiroga channeled his love for the new art into a series of four short stories about film: "Miss Dorothy Phillips, mi esposa" (1919), "El espectro" (1921), "El puritano" (1926), and "El vampiro" (1927). These stories not only reveal Quiroga's passion for the cinema, but also showcase the power of film to affect the spectator. The theoretical basis of my study comes from the Deleuzian concept of affect, being defined as the invisible force or intensity which exists in bodies and can also be transmitted between bodies that have differing capacities for acting on each other. In the case of the cinema, the film and the spectator are the two bodies that participate in this transmission of intensities. In the first chapter, I discuss how "El puritano" reveals that film's resurrected images can be more powerful than the originals. Then, I analyze "El espectro," which serves as an example of how film's mimetic qualities increase its power to affect spectators and produce in them visceral reactions. Particularly striking in this story is the filmic gaze of an on-screen actor, a gaze which transmits affect to the other characters. In the second chapter, I analyze "Miss Dorothy Phillips, mi esposa," particularly how it theorizes the erotic gaze of filmed actresses. Then I discuss "El vampiro," in which I study the relationship of two men with the filmed image of a beautiful Hollywood actress. In the story, an inventor is able to "move" film in such a way as to create a spectral woman who can interact with others. However, by the end of the story it becomes clear that it is the film—personified by this spectral woman—that holds the true power in this relationship of bodies.

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Wecker, Danièle Anne Irène. "What do you mean you lost the past? : agency, expression and spectacle in amateur filmmaking." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCC135.

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La thèse ci-après présente une étude de films amateurs, fournis par le Centre National d'Audiovisuel au Luxembourg, dit CNA. Elle examine certaines notions de sens et d’interprétation en l’absence de métadonnées et du contexte d'origine. Plutôt que de prendre le film amateur comme genre ou pratique à part, cette étude porte sur le seul langage cinématographique. La première partie de ce travail identifie ainsi des modes filmiques hautement différenciés et interprétés à partir des images. Sans contexte original, ces films perdent leur principale source de signification, à savoir les commentaires fournis par les membres de la famille. En effet, la projection du film dans le cercle familial interpelle les souvenirs et donne lieu à l’explication des évènements reproduits. La présente thèse examine ces images comme vestiges d'une narration visuelle plutôt qu'en termes de récit de souvenirs. Elle adopte le point de départ très simple que ce qui est filmé était important pour les cinéastes. De plus, elle examine comment le langage filmique peut servir comme illustration des intentions et motivations, à la fois volontaires et involontaires. Y suit l’examen des différents styles employés dans les films amateurs. J’attire l’attention sur la codification culturelle sous-jacente à la pratique de représentation dans le privé, qui prend la langue filmique comme moyen d'auto-narration. La deuxième partie aborde les films amateurs comme moyen d’expression primitif d’une tentative de signification qui implique le chercheur et sa propre expérience. La projection des films est constitutive de ce processus d'entrée en signification<br>The following thesis presents an examination of privately produced amateur films taken from the Amateur Film Archive in the Centre National d’Audiovisuel in Luxembourg. It analyzes how amateur films present a filmic world and examines specific notions of meaning generation without meta-data and original context. Rather than take amateur film as a homogenous genre or practice, this study concentrates on film language. The first part of the following two-fold engagement with these filmic worlds thus identifies the highly differentiated filmic modes that can be read from theimages. A filmic mode is related to as a concomitance of style and choice in subjectmatter. Without original context, these films lose their most important means ofmeaning generation, namely the recollective narratives that are constructed by theintended audience in the viewing situation. This work takes these images as remnantsof a visual narration rather than in terms of recollective narratives. It operates from the very simple basis that how the camera was used can serve as illustration of underlying intentions and motivations—both intended and inadvertent. The first partof this study then focuses on the diversification within the images and reads concomitant cultural codifications that structure representational productions in the private and also analyzes film language as means of self-narration. The second part of this two-fold engagement explores filmic language in terms of a visualization of primordial signifying expression coming-into-being. This engagement extends to include the researcher and his/her own background as co-constitutive part of this process of primordial meaning

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Schmitz, Anderson Iura Amaral. "ARTUR VAI À GUERRA: A MEMÓRIA DE UM FEBIANO PERENIZADA EM LINGUAGEM FÍLMICA." Universidade Federal de Santa Maria, 2011. http://repositorio.ufsm.br/handle/1/10981.

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This paper is a case study involving the documentary Artur Melo da Costa: missionary hero. The objective was to examine whether it is possible for a person turn into hero through its exposure from the film image. To flesh out the research was necessary to use oral history, literature review and empiricism. The text makes an original theoretical approach, where many works are analyzed, so we make allowances for the case study. In order to understand the process of heroicização was made a biography of Arthur Melo da Costa, who is the central object of our study. We also did an analysis on all the events that marked the construction process of the documentary, so that we can understand if, in fact, there was turn into hero Artur Melo da Costa in the community of São Luiz Gonzaga, Rio Grande do Sul. The research provides new information relevant to the community in question, so that we can understand that the construction of history is made everyday. Finally, the work serves as a reference for you to understand is how to make themselves a hero through the construction of filmic language, this case of a documentary.<br>Essa dissertação é um estudo de caso, envolvendo o documentário Artur Melo da Costa: um herói missioneiro. O objetivo desta pesquisa foi analisar se é possível a heroicização de uma pessoa através de sua exposição a partir de imagem fílmica. Para dar corpo à pesquisa foi necessária a utilização de história oral, revisão bibliográfica e empirismo. O texto faz uma abordagem inicial teórica, onde são analisadas várias obras, dessa forma temos subsídios para compor o estudo de caso. Para que se compreenda o processo de heroicização foi feita uma biografia de Artur Melo da Costa, que é o objeto central de nosso estudo. Também fizemos uma análise sobre todos os eventos que marcaram o processo de construção do documentário, de forma que se possa compreender se, de fato, houve a heroicização de Artur Melo da Costa na comunidade de São Luiz Gonzaga, no Rio Grande do Sul. A pesquisa traz informações inéditas e relevantes para a comunidade em questão, de forma que se possa compreender que a construção da história é feita no cotidiano. Por fim, o trabalho serve como referência para que compreenda-se como pode dar-se a construção de um herói através de linguagem fílmica, nesse caso de um documentário.

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Yu, Julia. "Translating the Language of Film: East Asian Films and Their Hollywood Remakes." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/138.

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Hollywood remakes of East Asian films clearly change more than just the language of a film, and the choices that producers and directors make in order to tailor a foreign film so that it better appeals to American audiences creates an entry point that allows for a more direct comparison of aesthetic styles, cultural tastes, and narrative conventions. An analysis of two case studies, South Korean hit film My Sassy GIrl (2001) and Hong Kong's Infernal Affairs trilogy (2002, 2003, 2003) remade into My Sassy Girl (2008) and The Departed (2006), explores the principles of Korean and Hong Kong commercial film industries and how they differ and interact with those of Hollywood.

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Vrancken, Maria do Céu Oliveira. "L'idéologie d'Ousmane Sembène : de l'œuvre écrite À l'œuvre filmée." Doctoral thesis, University of Cape Town, 2008. http://hdl.handle.net/11427/8228.

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Includes abstract in English.<br>Includes bibliographical references (leaves 237-260).<br>Of the eighteen films produced by the Senegalese Ousmane Sembène, five are adaptations of his novels and novellas. In the case of Guelwaar, his sixth and last adaptation, it is the novel which he adapted to the film of the same name. Sembène, who considered himself to be a "modem griot", felt that cinema was a more effective medium to reach his people and deliver his message. Once copies of all six films had been obtained, two with great difficulty as they were never commercially released, the cinematic techniques which Sembène used to convey his ideology were carefully studied and then compared to the literary techniques utilised in his writings.

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Kim, Lynn. "Body Language." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1587494555861933.

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Paasche, James. "Documenting the expert the films of Errol Morris /." Bowling Green, Ohio : Bowling Green State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1186689037.

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Pathe, Madison K. "Our Language of Dreams." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/scripps_theses/153.

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This project explores the idea of dream sharing and how language is both a tool and a barrier for sharing dream experiences. I collected video and audio dream diaries from 15 different people and stitched together a "collective" dream that contains elements from each. From this new dream, I pulled words and displayed them as text on-screen. What is the relationship from the listener and the actual dream experience? Can we truly experience the dreams of others?

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Rossholm, Anna Sofia. "Reproducing Languages, Translating Bodies : Approaches to Speech, Translation and Cultural Identity in Early European Sound Film." Doctoral thesis, Stockholms universitet, Filmvetenskapliga institutionen, 2006. http://www.diva-portal.org/su/theses/abstract.xsql?dbid=1333.

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Cordero-Campis, Lydia. "Confrontando caras| Confronting language, facing cultural identity." Thesis, State University of New York at Buffalo, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10127796.

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<p> Ethnic identity can be subject to both passive and overt review, which has the potential to cause traumatic fracture of identity. I am a second generation American-Puerto Rican, which can be defined as a person born in the United States of native Puerto Rican ancestry. Personal identity is constructed in part via social and linguistic associations that work with, and against, the cohesive development of an individual’s claim to his or her identity. From the standpoint of a non-fluent Spanish speaker of Puerto Rican descent, I analyze the connection between place, language, and in particular, face-to-face communication, as these aspects come together in developing/disassembling identity. The major focus of this thesis concerns the power of the face as a point of (mis)recognition between people, the site in which a confrontation of identity takes place, in conjunction with spoken language. </p><p> The face is the essential locus on the body for recognizing that the person before you is indeed a person; from that point forth, identity is revealed and awareness of subjectivity constructed. Stuart Hall discussed the construction of identity through the concepts of the <i>enlightened subject,</i> the <i>sociological subject,</i> and <i>the post-modern subject. </i> I will be referring to an individual’s identity in terms of these three models, while focusing on ethnic and cultural associations. It should be understood that in my discussion of face, “face” is not comprised solely of what rests above one’s shoulders; rather, the concept incorporates the entirety of an individual’s physical representation. I will question the ways in which language shapes identity, and how culture(s) and society reinforce it. I will also explore the conflict that unfolds when one is denied ownership of the identity that one has established as true. This analysis incorporates philosophy and cultural theory, including, but not limited to: Emmanuel Levinas’ “Face of the Other,” which professes that we must not inflict conceptual violence on the face of the person standing before us; additionally, Gloria Anzaldúa’s theory of the ethnic face and <i>haciendo cara</i> (making face), which states that minorities (women in particular) must construct layers of masks in order to adapt, and to deflect persecution. </p><p> Language defines the borders of “face,” and urges us to construct a binary of correct and incorrect, true and false. However, a person’s identity cannot be false, because subjectivity exists beyond language. In the context of this thesis, I re-frame the individual’s frustrations with misrecognition of ethnic identity, through my focus on face and fluency, or lack thereof, in a particular spoken language. Through my video practice, I have forged a new pathway to explore these dualities. In a self-revelatory process, this project guides the viewer through a mixed media visualization of ethnic authentication and judgment.</p>

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Books on the topic "Filmic language"

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Cinema and language loss: Displacement, visuality and the filmic image. Routledge, 2012.

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Pavesi, Maria. La traduzione filmica: Aspetti del parlato doppiato dall'inglese all'italiano. Carocci, 2005.

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Imperatore, Charles J. Learning sign language rules! SLIC, Inc., 2006.

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Spencer-Hall, Alicia. Medieval Saints and Modern Screens. Amsterdam University Press, 2017. http://dx.doi.org/10.5117/9789462982277.

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This ground-breaking book brings theoretical perspectives from twenty-first century media, film, and cultural studies to medieval hagiography. Medieval Saints and Modern Screens stakes the claim for a provocative new methodological intervention: consideration of hagiography as media. More precisely, hagiography is most productively understood as cinematic media. Medieval mystical episodes are made intelligible to modern audiences through reference to the filmic - the language, form, and lived experience of cinema. Similarly, reference to the realm of the mystical affords a means to express the disconcerting physical and emotional effects of watching cinema. Moreover, cinematic spectatorship affords, at times, a (more or less) secular experience of visionary transcendence: an 'agape-ic encounter'. The medieval saint's visions of God are but one pole of a spectrum of visual experience which extends into our present multi-media moment. We too conjure godly visions: on our smartphones, on the silver screen, and on our TVs and laptops. This book places contemporary pop-culture media - such as blockbuster movie The Dark Knight, Kim Kardashian West's social media feeds, and the outputs of online role-players in Second Life - in dialogue with a corpus of thirteenth-century Latin biographies, 'Holy Women of Liège'. In these texts, holy women see God, and see God often. Their experiences fundamentally orient their life, and offer the women new routes to knowledge, agency, and belonging. For the holy visionaries of Liège, as with us modern 'seers', visions are physically intimate, ideologically overloaded spaces. Through theoretically informed close readings, Medieval Saints and Modern Screens reveals the interconnection of decidedly 'old' media - medieval textualities - and artefacts of our 'new media' ecology, which all serve as spaces in which altogether human concerns are brought before the contemporary culture's eyes.

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Schwerdtfeger, Inge C. Sehen und verstehen: Arbeit mit Filmen im Unterricht Deutsch als Fremdsprache. Langenscheidt, 1989.

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Lingwistyka i filmoznawstwo: Krytyczna ocena tendencji lingwistycznej w badaniach nad filmem. Uniwersytet Śląski, 1986.

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Jeremy, Grant, and British Film Institute, eds. Teaching analysis of film language. BFI Education, 2007.

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Tiersma, Peter Meijes. Language-based humor in the Marx Brothers films. Indiana University Linguistics Club, 1985.

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Tiersma, Peter Meijes. Language-based humor in the Marx brothers films. Indiana University Linguistics Club, 1985.

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Will, Lehman, and Grieb Margit, eds. Cultural perspectives on film, literature, and language: Selected proceedings of the 19th Southeast Conference on Foreign Languages, Literatures, and Film. Brown Walker Press, 2010.

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Book chapters on the topic "Filmic language"

1

Lacey, Nick. "Film Language." In Introduction to Film. Macmillan Education UK, 2016. http://dx.doi.org/10.1007/978-1-137-46386-9_1.

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Lacey, Nick. "Film Language." In Introduction to Film. Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-0-230-21155-1_2.

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Villarejo, Amy. "The language of film." In Film Studies, 3rd ed. Routledge, 2021. http://dx.doi.org/10.4324/9780429026843-2.

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Montoro, Rocio. "Analysing Literature through Films." In Literature and Stylistics for Language Learners. Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230624856_5.

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O’Sullivan, Carol. "Mimesis and Film Languages." In Translating Popular Film. Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230317543_2.

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Hodson, Jane. "Analysing language variation in film." In Dialect in Film and Literature. Macmillan Education UK, 2014. http://dx.doi.org/10.1007/978-1-137-39394-4_3.

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Hueth, Alan C. "Vision and language of scriptwriting." In Scriptwriting for Film, Television, and New Media. Routledge, 2019. http://dx.doi.org/10.4324/9780429461361-3.

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Thomson, C. Claire. "“Here is My Home”: Voiceover and Foreign-language Versions in Postwar Danish informational film." In Nordic Film Cultures and Cinemas of Elsewhere. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.003.0011.

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This chapter discusses a selection of foreign-language Danish informational films, giving an overview, firstly, of how the films travelled and in which languages. It then looks more closely at a key principle in such filmmaking in Denmark: the use of voiceover, as opposed to subtitling or dubbing. This was a practice predicated on the medium-specific properties of film, as well as the networks of distribution and exhibition in play at the time. Voiceover was a practical necessity, but one which positioned the filmic narratives, and by extension Denmark, in spatio-temporal relation to the contexts of viewing. Examining a selection of typical and atypical films made between 1947 and 1960, the present study argues that voiceover, accent, and ambient sound often engender a delicate balance between “here” and “elsewhere.”

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Fingerhut, Joerg, and Katrin Heimann. "Movies and the Mind: On Our Filmic Body." In Embodiment, Enaction, and Culture. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262035552.003.0019.

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Over the last decade, the role of the spectators’ body has become considerably more important in theoretical as well as experimental approaches to film perception. However, most positions focus on how cinema has adapted to the spectator’s body over time, that is, to the basic principles of human perception and cognition, in developing its immersive power. This article presents the latest contributions to this topic, while also providing a new stance regarding the relationship between the mind and movies. Based on selected research from embodied approaches to cognition and picture perception, we suggest that humans learn to see film by integrating filmic means into their body schemas, and through this process develop a “filmic body”, available to them during film watching and, possibly, also off screen. Film language and film cognition are plastic products of mutual influence between films and embodied agents, and thereby move the medium towards novel filmic means and us toward novel experiences. We propose a number of research designs for further exploring these claims.

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Kluge, Alexander. "The Realistic Method and the “Filmic”." In Difference and Orientation, edited by Richard Langston. Cornell University Press, 2019. http://dx.doi.org/10.7591/cornell/9781501739200.003.0011.

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This chapter assesses the last remaining, untranslated portions from Alexander Kluge's aforementioned essay collection of 1975 on antagonistic realism, Gelegenheitsarbeit einer Sklavin. People usually learn about the deductive method in educational institutions. Starting with laws, rules, and values, people then descend to their application or illustrate them with examples. Reality is represented. The principle of illustration is that abstraction regulates concretion by destroying it. Film seems to develop an oppositional program to this tendency. Its raw material is apparently made up of concrete depictions. According to its qualitative edict, it has little appreciation for thought. It lacks the polished and universal quality of a so-called trade language. The majority of its products are oriented toward the direct imitation of reality.

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Conference papers on the topic "Filmic language"

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Quindoza Santiago, Lilia. "FILMING ILOKANO NARRATIVES THE DIY DIGITAL FILM IN THE TEACHING OF A PHILIPPINE LANGUAGE." In Annual International Conference on Language, Literature & Linguistics. Global Science & Technology Forum (GSTF), 2012. http://dx.doi.org/10.5176/2251-3566_l31287.

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Rocha, Vinicius, Anita Fernandes, and Sandro De Aguiar. "Análise de sentimento sobre Filmes no contexto do Twitter." In Escola Regional de Informática de Mato Grosso. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/eri-mt.2019.8605.

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This paper presents a study on approaches to sentiment analysis in the Portuguese language, having as a case study the theme films. The paper proposes the comparison of framework approaches: Naive Bayes, which is a probabilistic classifier, OpLexicon, which is a lexical dictionary of the Portuguese language, and the Committee approach, composed by the Naive Bayes and OpLexicon algorithms.

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Lu, Juncong. "Interpretation of the Film the Godfather From Sound Effect, Movie Frame, Filming Technique and Narrative." In 2020 International Conference on Language, Art and Cultural Exchange (ICLACE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200709.003.

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Delplancq, Véronique, Ana Maria Costa, Cristina Amaro Costa, et al. "STORYTELLING AND DIGITAL ART AS A MEANS TO IMPROVE MULTILINGUAL SKILLS." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end073.

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The use of storytelling and digital art as tools to understand a migrant family’s life path will be in the center of an innovative methodology that will ensure the acquisition of multilingual skills and the development of plurilingual awareness, reinforcing the various dimensions of language (aesthetic and emotional, in addition to cognitive), in a creative, collaborative and interdisciplinary work environment. This is especially important among students who are not likely to receive further language training. It is not yet clear how teachers can explore multilingual experiences of learners, both in terms of language learning dimensions but also related with the multiple cognitive connections and representations, as well as to the awareness of language diversity. The JASM (Janela aberta sobre o mundo: línguas estrangeiras, criatividade multimodal e inovação pedagógica no ensino superior) project involves a group of students of the 1st cycle in Media Studies, from the School of Education of Viseu, who will work using photography, digital art and cultural communication, collecting information pertaining to diversified cultural and linguistic contexts of the city of Viseu (Beira Alta, Portugal), both in French and English, centered on a tradition or ritual of a migrant family. Based on an interview, students write the story (in French and English) of the life of migrants and use photography to highlight the most relevant aspect of the migrant’s family life. Using as a starting point an object associated with religion, tradition or a ritual, students create an animated film, in both languages. This approach will allow the exploration of culture and digital scenography, integrating in an innovative interdisciplinary pathway, digital art, multilingual skills and multicultural awareness. Students’ learning progress and teacher roles are assessed during this process, using tests from the beginning to the end of the project.

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Schumm, David, Johanna Barzen, Frank Leymann, and Lutz Ellrich. "A pattern language for costumes in films." In the 17th European Conference. ACM Press, 2012. http://dx.doi.org/10.1145/2602928.2603083.

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Ren, Jiawen. "Analysis of the Japanese Iyashikei Films and the Culture Behind These Films." In 2020 International Conference on Language, Art and Cultural Exchange (ICLACE 2020). Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200709.007.

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Kusumastuti, Fenty. "Analyzing Translation through the Science Fiction Film Arrival." In 1st Bandung English Language Teaching International Conference. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0008214600050013.

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Peregoroda, Marina, and Anastasia Sycheva. "EXTRALINGUISTIC FEATURES OF TRANSFERING MOVIESWHILE DUBBING-IN." In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.26.

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The article considers such a type of audiovisual translation as dubbing in the context of extra-linguistic aspects of recreation of the film text in translation. The question of adaptation stages of a feature film with the help of duplication is touched upon.

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Barov, Sergey, Tatiana Orlova, and Yurii Medvedev. "USE OF FILM FOOTAGE IN CHINESE LANGUAGE TEACHING." In International Conference on Education and New Learning Technologies. IATED, 2017. http://dx.doi.org/10.21125/edulearn.2017.1170.

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FILIPPOVA, IRINA. "ABOUT TYPOLOGY OF INTERSEMIOTIC TRANSFORMATIONS." In ЯЗЫК. КУЛЬТУРА. ПЕРЕВОД = LANGUAGE. CULTURE. TRANSLATION. Science and Innovation Center Publishing House, 2019. http://dx.doi.org/10.12731/lct.2019.36.

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We present the author's typology of intersemiotic transformations during the intralinguistic film adaptation of literature adaptation of a work of literature empirically based on the play by M. A. Bulgakov "Ivan Vasilievich" and the film "Ivan Vasilievich changes his profession." Comparative analysis reveals the transformation of various components of the content (realities, external and personal characteristics of characters, genre features) and various degrees (transformation and deformation).

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Reports on the topic "Filmic language"

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Filip, Grażyna. SEMANTIC OF QUIET AND SILENCE BASED ON POLISH HUMAN SCIENCE. Ivan Franko National University of Lviv, 2021. http://dx.doi.org/10.30970/vjo.2021.50.11103.

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The article is an introduction to an individual research subject called The Communicational Potential of Silence, planned – and partially already realised since 2020 – as a cycle of publications based on diversified example material. In print are already two texts: G. Filip, The Communicational Potential of Silence. Film Reviews (University of Rzeszów Publishing House) and G. Filip, The Communicational Potential of Silence. Automotive Brand Press Maria Curie-Skłodowska University of Lublin Publishing House). The presented here English-language article serves for popularization Poland-wide and local (University of Rzeszów) research in the field communications.

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