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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 (September 25, 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 (July 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 (August 29, 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 (October 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 (April 14, 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 (July 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 (July 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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Gardner, Colin. "Beyond Percept and Affect: Beckett's Film and Non-Human Becoming." Deleuze Studies 6, no. 4 (November 2012): 589–600. http://dx.doi.org/10.3366/dls.2012.0085.
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Film, Samuel Beckett's 1964 short starring Buster Keaton, dubbed by Deleuze as ‘The Greatest Irish Film’, is a seminal text in the latter's cinematic canon as it helps us to extrapolate the transition from the Bergson-based movement-image of Cinema 1 to the Nietzschean time-image of Cinema 2. Film is unique insofar as its narrative traverses and progressively destroys the action-, perception- and affection-images that constitute the movement-image as a whole, using Keaton's body, and more importantly his face, as a means of attaining a pure intensity or Entity abstracted from all spatio-temporal coordinates, a condition of exhaustion/saturation that Deleuze and Guattari call, ‘non-human becoming’. Beckett's film is predicated on Bishop Berkeley's fundamental philosophical principle, esse est percipi (to be is to be perceived) and, using Keaton as its protagonist, raises the question of whether it is possible to escape perception, not only by a third party, but also by oneself. The latter is ‘played’ by the camera itself, which ‘stalks’ Keaton from behind, taking great pains not to exceed a 45-degree ‘angle of immunity’ (lest Buster experience percipi or the anguish of perceivedness) until the film's final close-up when he comes face to face with his own self-perception and affective annihilation. Film's denouement thus deconstructs the very nature of conventional cinematic language, whereby filmic suture – the enfolding of character, camera and spectatorial ‘viewing-views’ into a unified field of vision – gives way to a perspective where, at the very moment that the perceptive/affective body dies, the work of filmic art gives birth to itself as a being of pure sensation, exceeding lived experience.
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Paraskevopoulos, Ioannis. "Images in Suspension: Tableaux Vivants, Gesturality and Simulacra in Raul Ruiz’s film The Hypothesis of the Stolen Painting." Acta Universitatis Sapientiae, Film and Media Studies 19, no. 1 (March 1, 2021): 77–98. http://dx.doi.org/10.2478/ausfm-2021-0006.
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Abstract The article discusses Raul Ruiz’s film The Hypothesis of the Stolen Painting (1978). In the closed space of the house a parallel world emerges, where the filmic hypertext is constituted by a series of mise-en-abyme images that explore the multiple universe of tableaux vivants. The article analyses Ruiz’s appropriation of Pierre Klossowski’s concept of simulacra. The structure of The Hypothesis of the Stolen Painting is based upon the infinite reproduction of meaning since each simulacrum-tableau vivant leads to another. The author explores the gesturality of the bodies and its relevance to the use of language and sound in the film. Furthermore, he argues that Ruiz orchestrates the placement of the tableaux vivants in the filmic space in order to reveal the thought of eternal return.
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Tseng, Chiao-I. "Analysing characters' interactions in filmic text: a functional semiotic approach." Social Semiotics 23, no. 5 (November 2013): 587–605. http://dx.doi.org/10.1080/10350330.2012.752158.
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Pérez Ríu, Carmen. "Constructing filmic intersubjectivity through haptic visuality and poetic language in Sally Potter’sYes(2004)." European Journal of English Studies 21, no. 3 (September 2, 2017): 304–18. http://dx.doi.org/10.1080/13825577.2017.1369265.
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Noletto, Israel A. C., and Sebastião A. T. Lopes. "Heptapod B and the Paradox of Foreknowledge: Confronting Literature and its Filmic Adaptation." arcadia 54, no. 1 (May 31, 2019): 86–100. http://dx.doi.org/10.1515/arcadia-2019-0003.
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Abstract Ted Chiang’s Story of Your Life (1998) and its filmic adaptation Arrival (2016) both use Heptapod B, an artificial language from extra-terrestrial origin, capable of conferring on its speakers the ability of precognition, as a primordial narrative framework. Innovative as it is, it not only determines the way the stories are recounted, but also raises some very interesting philosophical issues. Focusing on that fantastical language, we promote a comparative analysis of the differing perspectives of the novella writer and the filmmakers regarding the free will and determinism dichotomy in connection with foreknowledge, and how these distinct views may have been influenced by the adaptation process. With the aim of providing a solid basis for such discussion, we collect and review the contributions of Linda Hutcheon, Brian McFarlane, George Bluestone, Linda Gualda as well as of others in relation to the plot developments in the literary text and its filmic adaptation. As a result, we point out what is prioritized or transformed in the adaptation process, thus offering a theoretical and philosophical criticism on the two stories and a comprehensive exegesis of the texts.
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Biondi, Teresa. "The Aesthetics of ‘Speaking Objects’ in Aniki-Bóbó’s Anthropo-cosmo-morphic Material." Aniki: Revista Portuguesa da Imagem em Movimento 8, no. 2 (July 12, 2021): 210–34. http://dx.doi.org/10.14591/aniki.v8n2.780.
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The surface of the things which make up the pro-filmic constitutes the shell/ signifier chosen to shape the soul of the filmic world or its anthropo-cosmo-morphic image rendered by the techniques of film language. The result is the creation of a complex and multi-layered “possible world”, consisting of discursive parts that speak through the dramaturgy and aesthetics of the film, a socio-semantics which transfigures the matter of bodies and objects through the mechanisms of filmic re-signification. Amongst these, the intellectual montage as well as all the graphic and audio signs that appear on the scene can be identified. These signs stand out because of their metaphorical-discursive capacity, as will be analysed in the film Aniki-Bóbó (1942) by Manoel de Oliveira: the written words that serve to give voice to inanimate matter (Carlitos’ bag); the modelled forms which reproduce material allegories or doubles of the human body (the doll); the fragile materials that refer to the children’s fragility itself; the steel and iron of mechanised infrastructures showing the modernisation of the country; the classical architecture, the nature of the place and the free, open-air spaces of games, as opposed to closed spaces that recall underdeveloped pedagogical institutions; and among the latter, the liminal place par excellence, symbolised by the ‘Shop of Temptations’. In the filmic whole, bodies, places and objects are thus configured as interconnected parts of a single compact world, in which the cosmos is reflected in the anthropo, and the anthropo in the cosmos, in order to transfigure, in a metaphorical key, the immaterial culture referring to the changes in national identity. This allegorical fable of Portuguese pedagogical culture ultimately proposes the possibility of a social (and political) change, projected into a ‘just’ future without dictatorship (victory of good over evil).
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Allyson Nadia Field. "To Journey Imperfectly: Black Cinema Aesthetics and the Filmic Language of Sankofa." Framework: The Journal of Cinema and Media 55, no. 2 (2014): 171. http://dx.doi.org/10.13110/framework.55.2.0171.
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Wildfeuer, Janina. "It’s all about logics?! Analyzing the rhetorical structure of multimodal filmic text." Semiotica 2018, no. 220 (January 26, 2018): 95–121. http://dx.doi.org/10.1515/sem-2015-0139.
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AbstractThis paper focuses on questions concerning the process of making meaning out of the filmic text by asking for the argumentative patterns that enable the recipient’s inference processes during his/her interpretation. Film analysis, and multimodal analysis in general, is no longer seen as simply decoding the semiotic resources, but asking for inferential processes of reasoning about the best and most plausible interpretation. For this, the paper presents an analytical approach based on recent advancements in contemporary discourse semantics and multimodal discourse analysis which outlines the discursive and rhetorical structure of filmic text and retraces the inference process of the recipient in detail. The aim is to show how multimodal film leads its spectators to acknowledge the argumentative reconstruction of its content by relating the diegetic world to its reality and proving its validity. An example analysis of the short film El Vendedor de Humo (2012) shows how it is possible to elucidate a film’s rhetorical structure and to outline the process of logically reasoning about semantic and pragmatic information in the text. The aim is thus to gain a detailed look at how premises and arguments for the interpretation are made available in multimodal context and how they are operated by the recipient.
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Glastra, Folke, and Erik Kats. "The Filmic Construction of Tolerance: Representations of Interethnic Relations in Educational Films." European Journal of Communication 8, no. 3 (September 1993): 345–63. http://dx.doi.org/10.1177/0267323193008003005.
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Adamson, Joni. "Networking Networks and Constellating New Practices in the Environmental Humanities." Publications of the Modern Language Association of America 131, no. 2 (March 2016): 347–55. http://dx.doi.org/10.1632/pmla.2016.131.2.347.
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Academic institutionalization of the environmental humanities began in the early 1990s, and since 2000 the field has grown rapidly because of infrastructural support and because of funding for curricular innovation and programming. The environmental humanities include historical, philosophical, aesthetic, religious, literary, filmic, and media studies; they are informed by the most recent research in the sciences of nature and the anthropogenic factors that contribute to increasingly extreme weather events—drought, fire, hurricanes, melting glaciers, and warming and rising oceans (see Adamson, “Humanities” 135; Nye et al. 22-28).
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Viljoen, H. "Oor referensie en (tersyde) oor representasie." Literator 11, no. 3 (May 6, 1990): 60–59. http://dx.doi.org/10.4102/lit.v11i3.813.
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This article attempts to define the notion of representation by means of a critique of the reception of the film Fiela se kind (Fiela’s child), based on the novel with the same name by Dalene Matthee. It shows how historical facts become subjected to different norms within the fictional space of the novel (and the film) and how the meaning of both is not primarily dependent on the correspondence to historical reality, but is influenced by filmic and novelistic coding, the horizon of expectations of the audience and the social symbolic value of certain places like the farmhouse.
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Galperin, William. ""Bad for the Glass": Representation and Filmic Deconstruction in Chinatown and Chan is Missing." MLN 102, no. 5 (December 1987): 1151. http://dx.doi.org/10.2307/2905315.
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Labarta Postigo, María. "A metaphorical map of subtitling." Babel. Revue internationale de la traduction / International Journal of Translation 66, no. 1 (February 18, 2020): 46–69. http://dx.doi.org/10.1075/babel.00141.pos.
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Abstract This study explores the metaphorical dimension of idioms in original filmic texts and their translations in subtitles, in order to shed light on strategies used in the translation process. The research focuses on a corpus of 20 films from the Library of Foreign Language Film Clips (LFLFC), at the Berkeley Language Center of the University of California, Berkeley. More specifically, I analyze films in German and Spanish with English subtitles from a cognitive and contrastive perspective. My goal is to explore how translation can affect understanding and reception by an audience with limited or no skills in the original language. Results of the analysis show a tendency towards reduction of metaphorical expressions in translated English subtitles, these varying according to the original language of the film. Contrastive analysis demonstrates that in translation from Spanish, the explicit meaning strategy is far more frequent than in translation from German. The findings of this study can be applied in foreign language teaching as a means of developing learners’ cultural awareness and language comprehension, as well as in the field of audiovisual subtitling translation.
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Hainge, Greg. "Le Corps concret: Of Bodily and Filmic Material Excess in Philippe Grandrieux's Cinema." Australian Journal of French Studies 44, no. 2 (May 2007): 153–71. http://dx.doi.org/10.3828/ajfs.44.2.153.
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Calle Rosingana, Gonzalo. "In Search of Meaning: ‘The Hours’ and Meaning Construction." Círculo de Lingüística Aplicada a la Comunicación 79 (September 19, 2019): 187–202. http://dx.doi.org/10.5209/clac.65655.
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This paper deals with the way in which certain meanings originate from the participation of a multiplicity of cues that emerge from different modalities. The analysis is based on the implementation of specific linguistic and cognitive mechanisms that trigger the generation of the audience’s unconscious construction of meaning. The corpus of the analysis concentrates on an excerpt of David Hare’s script (2002) of the movie The Hours: three women’s lives, by Stephen Daldry, that acts as the backbone of the analysis. The analysis is cross-referenced with parallel modality inputs (Kress 2009), such as specific filmic or visual details, found either in the scene or the rest of the movie. The approach of this qualitative study is mainly cognitive making special emphasis on the three types of underspecification proposed by Radden (2007a). It also draws from Langacker’s (2008) proposals related to attention and perspective to identify figure-ground relations as determinant in the molding of the characters and their ideological standpoints in the scene.
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Formentelli, Maicol. "Vocatives galore in audiovisual dialogue." English Text Construction 7, no. 1 (April 28, 2014): 53–83. http://dx.doi.org/10.1075/etc.7.1.03for.
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The paper explores the use of vocatives in a corpus of 24 American and British films (the Pavia Corpus of Film Dialogue) by comparing film dialogue with spontaneous speech. A systematic quantitative and qualitative analysis of empirical data is provided to assess how address forms used by English speakers in natural verbal exchanges are reproduced on screen, and to identify patterns of address that can be regarded as distinctive of film dialogue. The findings show a higher frequency of vocatives in film dialogue, which serve diegetic and extradiegetic functions. From a qualitative point of view, filmic speech effectively reproduces interpersonal functions and sociolinguistic variation associated with vocatives in spontaneous interactions; on the other hand, it is characterized by a sophisticated use of address strategies accounted for in terms of authorial expressivity.
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Moraru, Mirona, and Alida Payson. "Dirty pretty language: translation and the borders of English." TranscUlturAl: A Journal of Translation and Cultural Studies 9, no. 2 (September 22, 2017): 13. http://dx.doi.org/10.21992/t9c65n.
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This article analyses the politics of English, and translation into Englishness, in the film Dirty Pretty Things (Frears). With a celebrated multilingual cast, some of whom did not speak much English, the film nevertheless unfolds in English as it follows migrant characters living illegally and on the margins in London. We take up the filmic representation of migrants in the “compromised, impure and internally divided” border spaces of Britain (Gibson 694) as one of translation into the imagined nation (Anderson). Dirty Pretty Things might seem in its style to be a kind of multicultural “foreignized translation” which reflects a heteropoetics of difference (Venuti); instead, we argue that Dirty Pretty Things, through its performance of the labour of learning and speaking English, strong accents, and cultural allusions, is a kind of domesticated translation (Venuti) that homogenises cultural difference into a literary, mythological English and Englishness. Prompted by new moral panics over immigration and recent UK policies that heap further requirements on migrants to speak English in order to belong to “One Nation Britain” (Cameron), we argue that the film offers insights into how the politics of British national belonging continue to be defined by conformity to a type of deserving subject, one who labours to learn English and to translate herself into narrow, recognizably English cultural forms. By attending to the subtleties of language in the film, we trace the pressure on migrants to translate themselves into the linguistic and mythological moulds of their new host society.
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Baetens, Jan Dirk, Johan Callens, Nadja Cohen, Michel Delville, Bertrand Gervais, Sean Lawrence O'sullivan, and Myriam Watthée-Delmotte. "An Example of “False Friends”: Literary Genres / Filmic Genres (Intermediality and Remediation in Print and on Screen)." Revue belge de philologie et d'histoire 94, no. 3 (2016): 771–83. http://dx.doi.org/10.3406/rbph.2016.8898.
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Harrison, Chloe. "‘The truth is we’re watching each other’: Voiceover narration as ‘split self’ presentation in The Handmaid’s Tale TV series." Language and Literature: International Journal of Stylistics 29, no. 1 (February 2020): 22–38. http://dx.doi.org/10.1177/0963947020905756.
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Cognitive stylistics offers a renewed focus on readerly or audience interpretation, but while cognitive stylistic tools have been applied in the investigation of literary texts, their application to TV, film and screen has been more limited. This article examines the cognitive stylistic features of the voiceover narration in the first TV series adaptation of The Handmaid’s Tale to explore the representation of June/Offred’s ‘split selves’ and how these are mediated through a prominent ‘filmic composition device’. Through analysis of voiceovers and corresponding production choices in series 1, this study explores, first, how the different modes of communication – both choices of visual production (such as shallow-focus shots) and linguistic features (such as ‘you’ address and container metaphors) – combine to show Offred’s split perspective; and second, how these stylistic elements work to foreground the key themes of the series, such as imprisonment, objectification and surveillance.
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Moss-Wellington, Wyatt. "Picturing the Autobiographical Imagination: Emotion, Memory and Metacognition in Inside Out." Film-Philosophy 25, no. 2 (June 2021): 187–206. http://dx.doi.org/10.3366/film.2021.0168.
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Inside Out (Pete Docter & Ronnie Del Carmen, 2015) develops novel cinematic means for representing memory, emotion and imagination, their interior relationships and their social expression. Its unique animated language both playfully represents pre-teenage metacognition, and is itself a manner of metacognitive interrogation. Inside Out motivates this language to ask two questions: an explicit question regarding the social function of sadness, and a more implicit question regarding how one can identify agency, and thereby a sense of developing selfhood, between one’s memories, emotions, facets of personality, and future-thinking imagination. Both the complexity of the language Inside Out develops to ask these questions, and the complicated answers the film provides, ultimately serve as a manner of recognition of the effortfulness of finding one’s place in the world. This article talks sequentially through the complex representative systems Inside Out advances in order to pay homage to the ways in which metacognitive cinema – as well as discussions and hermeneutic readings around that cinema – can make viewers feel recognised for invisible, internal labour that is existentially difficult to share due to its very interiority; an interiority that is reconstructed in imaginative processes such as autobiographical reminiscence, and filmic animation.
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Cattrysse, Patrick. "Stories Travelling Across Nations and Cultures." Meta 49, no. 1 (September 13, 2004): 39–51. http://dx.doi.org/10.7202/009018ar.
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Abstract European filmmakers have often stated that linguistic diversity presents the major obstacle for European movies to cross national and cultural borders successfully. Some have even tried to make us believe that it would suffice to produce a movie in English to guarantee its international success. This article suggests that the effective use of some specific rhetorical devices might play a more important role in enhancing the chances of filmic narratives to travel successfully across nations and cultures. A thorough comparative study of the presence or absence of these rhetorical features and the use of language, applied upon a specific corpus of European movies, could enlighten us on the relative importance of the respective parameters within the larger discussion of movies travelling across nations and cultures and various translation policies.
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Perdikaki, Katerina. "Film Adaptation as an Act of Communication: Adopting a Translation-oriented Approach to the Analysis of Adaptation Shifts." Meta 62, no. 1 (July 6, 2017): 3–18. http://dx.doi.org/10.7202/1040464ar.
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Contemporary theoretical trends in Adaptation Studies and Translation Studies (Aragay 2005; Catrysse 2014; Milton 2009; Venuti 2007) envisage synergies between the two areas that can contribute to the sociocultural and artistic value of adaptations. This suggests the application of theoretical insights derived from Translation Studies to the adaptation of novels for the screen (i.e., film adaptations). It is argued that the process of transposing a novel into a filmic product entails an act of bidirectional communication between the book, the novel and the involved contexts of production and reception. Particular emphasis is placed on the role that context plays in this communication. Context here is taken to include paratextual material pertinent to the adapted text and to the film. Such paratext may lead to fruitful analyses of adaptations and, thus, surpass the myopic criterion of fidelity which has traditionally dominated Adaptation Studies. The analysis uses examples of adaptation shifts (i.e., changes between the source novel and the film adaptation) from the filmP.S. I Love You(LaGravenese 2007), which are examined against interviews of the author, the director and the cast, the film trailer and one film review.
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Louw, S. "Die ontvanger en Die vuurtoring, ’n metadiëgetiese televisiedrama." Literator 13, no. 3 (May 6, 1992): 111–22. http://dx.doi.org/10.4102/lit.v13i3.780.
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The perceiver of Die vuurtoring (The lighthouse) is placed in an awkward position due to the unusual code structures in this metafilmic teleplay. The prologue is separated from the metadiegetic level by the title sequence, whereupon the diegetic direction changes completely. The nature of the narrative following this sequence is only recognized as metadiegetic at the end of the teleplay. After the punctuation of the title sequence metafilm is foregrounded. Internal cameras, video and sound recordings feature throughout the narrative. The narrating style also changes into a metafilmic presentation: in a single filmic syntagm the colour rendering might fade and change to black/white; other sequences might be rendered in both colour and black/white; or only as black/white syntagms. During these black/white sequences an extradiegetic voice comments on aspects which are external to the diegesis. The process of decoding this teleplay is problematic and the reader/receptor has to work very hard in the production of meaning.
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Wright, Geoffrey A. "The Desert of Experience: Jarhead and the Geography of the Persian Gulf War." PMLA/Publications of the Modern Language Association of America 124, no. 5 (October 2009): 1677–89. http://dx.doi.org/10.1632/pmla.2009.124.5.1677.
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The censored media coverage of the Persian Gulf War obscured the region's geography and erased the suffering of combatants and civilians. In contrast, the literature and film on the war emphasize the human rather than the technological dimension of the fighting. The words and images used to represent the foot soldiers' deeply personal experiences are bound to the landscape. This essay sets forth a geographic semiotics of Persian Gulf War combat narratives, which entails the study of an array of geographically oriented codes for making meaning out of wartime experience. The study of geographic signs in these narratives revolves around images and descriptions of the desert, which permeate such literary and filmic accounts of the ground fighting as Anthony Swofford's memoir Jarhead (2003), Sam Mendes's film adaptation Jarhead (2005), and David Russell's Three Kings (1999). Practicing a geographic semiotics of Persian Gulf War combat narratives allows us to rethink the war, to reimagine what its stories might signify—morally as well as politically.
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Melnikova, Irina. "Intermedial references and signification: Perception versus conception." Semiotica 2020, no. 236-237 (December 16, 2020): 231–50. http://dx.doi.org/10.1515/sem-2018-0098.
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AbstractThe paper focuses on the issue of intermedial references, the matters of conditions, necessity and relevance of their interpretation. It discusses the question of semantic value of an intermedial reference rather than of its aesthetic, pragmatic, modal or other aspects. It considers the lack of coherence between the theoretical propositions of intermedial studies, grounded in the studies of intertextuality, and the practice of analysis. In theory, every intermedial reference configures semantic dialogue between qualified media (configurations), thus requires conceptualisation. Yet, the practice of analysis reveals that some of them perform exclusively aesthetic function and invite to keep reception within the limits of perception. Therefore I make an attempt to define the criteria of textual request for conceptualisation/interpretation set up in a text as such. I propose to revise the relevant insights of different intertextual and semiotic approaches, to perform their revision, modification and extension, to articulate possible solution and exemplify it by filmic references to painting.
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Visch, Valentijn, and Ed Tan. "Narrative versus style: Effect of genre-typical events versus genre-typical filmic realizations on film viewers’ genre recognition." Poetics 36, no. 4 (August 2008): 301–15. http://dx.doi.org/10.1016/j.poetic.2008.03.003.
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Nwike, Christopher Chinedu, and Christopher Uchenna Agbedo. "Correctness of the Subtitled Expressions in Context: The Translator in Film Making Process." Journal of Language Teaching and Research 12, no. 3 (May 1, 2021): 387–94. http://dx.doi.org/10.17507/jltr.1203.08.
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This paper hinges on the correctness of the subtitled expressions in context: The translator in film making process. The objective of the study is to ascertain the correctness of subtitled expressions in context, in the movie used for the study. It focuses on fishing out the wrong subtitled expressions in context of discourses in the movie Onye Bụ Nna M. The study sees subtitle as substituting the vocal utterances in a filmic material to a written equivalence on the screen of the television. The discredit of subtitle in the Nollywood touches the areas of wrong expression of a particular utterance in a movie into another language through subtitle and non alignment of the spoken utterances with its subtitled equivalences. However, all these formed the problem of the study. This study adopts the formal and dynamic equivalence of Nida as well as Gottlieb’s strategies of subtitle as the frameworks of the study in order to effectively carry out this research. This research adopts the emergent design approach in its methodology. The study reveals that if information is subtitled well with the correct tenses in context, there will be no misinterpretation of ideas or information by the target audience.
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TUNALI, Dilek, and Ayşen Oluk ERSÜMER. "THE CINEMA OF POETRY: EDIP CANSEVER’S POETRY CONVERGING TO THE FILMIC IMAGE THROUGH OBJECTIVE CORRELATIVE." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 1 (January 1, 2021): 64–84. http://dx.doi.org/10.7456/11001100/004.
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The term of objective correlative conceptualized by T.S. Eliot could be described as the way of expression of the poet’s passion, thought, and emotion throughout the objects. The concept is beyond metaphor for many theorists. A single item handled by a poet can absorb the poem's whole sensation and show us a rich analytical field letting to connotational and semiological readings. The break out from the linear, classic, rhymed, or dramatic did not only cause a change in the poetry but also in the cinema of the 20th century, generating the modern face of cinema. The imaginary intensity in the poems of Edip Cansever, who is the authentic figure of the Second New generation in Turkish poetry, creates a relationship allowing for affinities and comparisons with the cinematic image approaching the poem. What makes poetry art is that it irrationally reaches self-meaning. It is both a system of rules and a system for violation of these rules. It looks like a kind of disruption, suspension, or a disproportionate growth in which all the meaning load has concentrated upon a single object. There is an equivalent of objective correlative in cinema: "To tell about something with something else". The place where the meaning is loaded is also the place where it is objectified. It is the place to begin reading, thinking, and analyzing. It has now been an object which gains motion to image both in cinema and poetry. The expressions in the poems of Edip Cansever, which are approaching cinematic images through objective correlative correspond to the cinema of poetry and the poetry of cinema. Therefore, the language of poetry and cinema will become rich due to reciprocal interaction and become open to new meanings. Although structuralism and philosophy are more dominant in the article, literature and cinema history researches are also included as supportive areas.
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TUNALI, Dilek, and Ayşen Oluk ERSÜMER. "THE CINEMA OF POETRY: EDIP CANSEVER’S POETRY CONVERGING TO THE FILMIC IMAGE THROUGH OBJECTIVE CORRELATIVE." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 1 (January 1, 2021): 64–84. http://dx.doi.org/10.7456/11101100/004.
Full textAbstract:
The term of objective correlative conceptualized by T.S. Eliot could be described as the way of expression of the poet’s passion, thought, and emotion throughout the objects. The concept is beyond metaphor for many theorists. A single item handled by a poet can absorb the poem's whole sensation and show us a rich analytical field letting to connotational and semiological readings. The break out from the linear, classic, rhymed, or dramatic did not only cause a change in the poetry but also in the cinema of the 20th century, generating the modern face of cinema. The imaginary intensity in the poems of Edip Cansever, who is the authentic figure of the Second New generation in Turkish poetry, creates a relationship allowing for affinities and comparisons with the cinematic image approaching the poem. What makes poetry art is that it irrationally reaches self-meaning. It is both a system of rules and a system for violation of these rules. It looks like a kind of disruption, suspension, or a disproportionate growth in which all the meaning load has concentrated upon a single object. There is an equivalent of objective correlative in cinema: "To tell about something with something else". The place where the meaning is loaded is also the place where it is objectified. It is the place to begin reading, thinking, and analyzing. It has now been an object which gains motion to image both in cinema and poetry. The expressions in the poems of Edip Cansever, which are approaching cinematic images through objective correlative correspond to the cinema of poetry and the poetry of cinema. Therefore, the language of poetry and cinema will become rich due to reciprocal interaction and become open to new meanings. Although structuralism and philosophy are more dominant in the article, literature and cinema history researches are also included as supportive areas.
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TUNALI, Dilek, and Ayşen Oluk ERSÜMER. "THE CINEMA OF POETRY: EDIP CANSEVER’S POETRY CONVERGING TO THE FILMIC IMAGE THROUGH OBJECTIVE CORRELATIVE." TURKISH ONLINE JOURNAL OF DESIGN ART AND COMMUNICATION 11, no. 1 (January 1, 2021): 64–84. http://dx.doi.org/10.7456/11101100/004.
Full textAbstract:
The term of objective correlative conceptualized by T.S. Eliot could be described as the way of expression of the poet’s passion, thought, and emotion throughout the objects. The concept is beyond metaphor for many theorists. A single item handled by a poet can absorb the poem's whole sensation and show us a rich analytical field letting to connotational and semiological readings. The break out from the linear, classic, rhymed, or dramatic did not only cause a change in the poetry but also in the cinema of the 20th century, generating the modern face of cinema. The imaginary intensity in the poems of Edip Cansever, who is the authentic figure of the Second New generation in Turkish poetry, creates a relationship allowing for affinities and comparisons with the cinematic image approaching the poem. What makes poetry art is that it irrationally reaches self-meaning. It is both a system of rules and a system for violation of these rules. It looks like a kind of disruption, suspension, or a disproportionate growth in which all the meaning load has concentrated upon a single object. There is an equivalent of objective correlative in cinema: "To tell about something with something else". The place where the meaning is loaded is also the place where it is objectified. It is the place to begin reading, thinking, and analyzing. It has now been an object which gains motion to image both in cinema and poetry. The expressions in the poems of Edip Cansever, which are approaching cinematic images through objective correlative correspond to the cinema of poetry and the poetry of cinema. Therefore, the language of poetry and cinema will become rich due to reciprocal interaction and become open to new meanings. Although structuralism and philosophy are more dominant in the article, literature and cinema history researches are also included as supportive areas.
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Forsyth, Neil. "The Tell-Tale Hand: Gothic Narratives and the Brain." Text Matters, no. 6 (November 23, 2016): 96–113. http://dx.doi.org/10.1515/texmat-2016-0006.
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The opening story in Winesburg, Ohio (1919) by Sherwood Anderson is called simply “Hands.” It is about a teacher’s remarkable hands that sometimes seem to move independently of his will. This essay explores some of the relevant contexts and potential links, beginning with other representations of teachers’ hands, such as Caravaggio’s St. Matthew and the Angel, early efforts to establish a sign-language for the deaf, and including the Montessori method of teaching children to read and write by tracing the shape of letters with their hands on rough emery paper. The essay then explores filmic hands that betray or work independently of conscious intentions, from Dr Strangelove, Mad Love, to The Beast With Five Fingers. Discussion of the medical literature about the “double” of our hands in the brain, including “phantom hands,” leads on to a series of images that register Rodin’s lifelong fascination with sculpting separate hands.
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Ghia, Elisa. "(Dis)aligning across different linguacultures: Pragmatic questions from original to dubbed film dialogue." Multilingua 38, no. 5 (September 25, 2019): 583–600. http://dx.doi.org/10.1515/multi-2018-0120.
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Abstract In original and dubbed film dialogue, direct questions are a means to depict interpersonal relationships on screen. In particular, pragmatic questions (i.e. non-questioning, rhetorical interrogatives) are frequently employed to mark alignment among interactants, in the form of affiliative and disaffiliative interrogatives, respectively expressing positive and negative stance. Based on the exploration of the Pavia Corpus of Film Dialogue, the current study aims at investigating the ways in which affiliative and disaffiliative questions are constructed in original English filmic speech and in Italian dubbing. The two dialogue types show rather high similarity in the distribution of pragmatic questions – with a notable prevalence of disaffiliative interrogatives carrying conflict-initiating role. However, different strategies are privileged in the two languages for the linguistic construction of stance. The English source text does not rely on a single and specific pattern to signal affiliation, while it marks disaffiliation through inserts, emotionally-loaded chunks and non-canonical word order in the interrogative. Conversely, dubbed Italian frequently draws on weak connectors to express disalignment and prefers different types of syntactically marked structures in the construction of affiliation. Findings thus suggest a certain degree of autonomy for dubbed dialogue in the selection of specific linguistic markers to transfer and re-portray interpersonal relationships in the target linguaculture.
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Copier, Laura. "Reanimating Saint Paul: From the Literary to the Cinematographic Stage." Biblical Interpretation 27, no. 4-5 (November 13, 2019): 533–48. http://dx.doi.org/10.1163/15685152-02745p05.
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AbstractIn several of his writings on the relation between film and language, Pasolini discusses the possibility of a moment in which a screenplay can be considered an autonomous object, “a work complete and finished in itself.” In the first part of this essay, I will reflect on the concept of the screenplay in a larger context and more specifically, Pasolini’s writings on the ontological status of the screenplay as a “structure that wants to be another structure.” The case of Saint Paul is thought-provoking, precisely because this original screenplay was never turned into an actual film. Despite this, Pasolini argues that the screenplay invites – or perhaps even forces – its reader to imagine, to visualize, the film it describes. Pasolini’s ideas on the function of language as a means to conjure up images are central to this act of visualization. In the second part of this essay, I will attempt an act of visualization. This endeavor to visualize Saint Paul as a possible film is hinged upon a careful reading of the screenplay. I analyze the opening and closing sequences outlined in the screenplay to visualize the possible filmic expression of its protagonist Paul.
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LÓPEZ LÓPEZ, Carmen María. "LA NARRATIVA DE JAVIER MARÍAS EN DIÁLOGO CON EL CINE. CONFLUENCIAS ESTÉTICAS Y HORIZONTES POSIBLES." Signa: Revista de la Asociación Española de Semiótica 30 (January 6, 2021): 575. http://dx.doi.org/10.5944/signa.vol30.2021.26396.
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Resumen: El artículo estudia la presencia del cine en distintas novelas de Javier Marías. Esta presencia puede apreciarse no solo en temas y personajes, sino también en referencias explícitas que están involucradas en el centro de la trama. Además de ofrecer un marco teórico acerca de los límites y desafíos de los estudios fílmicos y literarios, el artículo proporciona un análisis los elementos cinematográficos en sus novelas. En síntesis, el estudio pretende llenar un hueco en este enfoque interdisciplinar al que la crítica especializada aún no ha dedicado una reflexión minuciosa.Abstract: The article studies the presence of cinema in several novels by Javier Marías. This presence is detected not only in topics and characters, but also in explicit references which are central to the plot. As well as providing a theoretical framework about the limits and challenges of filmic and literary studies, the article provides an analysis of the cinematic elements in his novels. In synthesis, the study aims to fill a gap in this interdisciplinary approach to which critics haves not yet paid enough attention.
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Young, Alys, Lorenzo Ferrarini, Andrew Irving, Claudine Storbeck, Robyn Swannack, Alexandra Tomkins, and Shirley Wilson. "‘The world is full of magic things, patiently waiting for our senses to grow sharper’ (WB Yeats): enhancing resilience among deaf young people in South Africa through photography and filmmaking." Medical Humanities 45, no. 4 (December 2019): 416–27. http://dx.doi.org/10.1136/medhum-2019-011661.
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This article concerns deaf children and young people living in South Africa who are South African Sign Language users and who participated in an interdisciplinary research project using the medium of teaching film and photography with the goal of enhancing resilience. Specifically, this paper explores three questions that emerged from the deaf young people’s experience and involvement with the project: (i) What is disclosed about deaf young people’s worldmaking through the filmic and photographic modality? (ii) What specific impacts do deaf young people’s ontologically visual habitations of the world have on the production of their film/photographic works? (iii) How does deaf young people’s visual, embodied praxis through film and photography enable resilience? The presentation of findings and related theoretical discussion is organised around three key themes: (i) ‘writing’ into reality through photographic practice, (ii) filmmaking as embodied emotional praxis and (iii) enhancing resilience through visual methodologies. The discussion is interspersed with examples of the young people’s own work.
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Woodward, Ashley. "Dispositif, Matter, Affect, and the Real: Four Fundamental Concepts of Lyotard's Film-Philosophy." Film-Philosophy 23, no. 3 (October 2019): 303–23. http://dx.doi.org/10.3366/film.2019.0118.
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Jean-François Lyotard's work remains a largely untapped resource for film-philosophy. This article surveys four fundamental concepts which indicate the fecundity of this work for current studies and debates. While Lyotard was generally associated with the “theory” of the 1980s which privileged language, signs, and cultural representations, much of his work in fact resonates more strongly with the new materialisms and realisms currently taking centre stage. The concepts examined here indicate the relevance of Lyotard's work in four related contemporary contexts: the renewed interest in the dispositif, new materialism, the affective turn, and speculative realism. The concept of the dispositif (or apparatus) is being rehabilitated in the contemporary context because it shows a way beyond the limiting notion of mise en scène which has dominated approaches to film, and Lyotard's prevalent use of this concept feeds into this renewal. While matter is not an explicit theme in Lyotard's writings on film, it is nevertheless one at the heart of his aesthetics, and it may be extended for application to film. Affect was an important theme for Lyotard in many contexts, including his approaches to film, where it appears to subvert film's “seductive” (ideological) effects. Finally, the Real emerges as a central concept in Lyotard's last essay on cinema, where, perhaps surprisingly, it intimates something close to a speculative realist aesthetics. Each of the fundamental concepts of Lyotard's film-philosophy are introduced in the context of the current fields and debates to which they are relevant, and are discussed with filmic examples, including Michael Snow's La Région centrale (1971), Roberto Rossellini's Stromboli (Stromboli, terra di Dio, 1950), Francis Ford Coppola's Apocalypse Now (1979), and neo-realist cinema.
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Zitzlsperger, Ulrike. "Between Modernity and Nostalgia: The Meanings of Death in Hotels." Forum for Modern Language Studies 55, no. 4 (September 30, 2019): 466–78. http://dx.doi.org/10.1093/fmls/cqz035.
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Abstract This article takes its cue from the public impact of the deaths of singers, artists and writers in hotels. Particular attention is paid to the murder of Nancy Spungen in New York’s Chelsea Hotel, in 1978. A long tradition of literary and filmic hotel deaths shows similarly strong links with contemporary cultures – illustrating political, social or cultural change and questioning the impact of modernity. However, as well as responding to change, death in the context of hotels is also linked with nostalgia for an irretrievable past. Such are the two poles of cultural criticism in the topos of hotel deaths: they throw modernity into relief, celebrating or criticizing it through the symbolic structure of the hotel; or they inculcate a warm nostalgia, in critical opposition to the world outside on the street. The individual authors and directors under consideration here in exploring these points include Joseph Roth, Vicki Baum, F. W. Murnau, Giuseppi Tomasi di Lampedusa and Friedrich Glauser, highlighting the importance of the theme straddling American and European cultures.
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Mattos Vazualdo, Diego. "La necesidad de comprometer la existencia. Nación y descolonización en el cine boliviano de la época neoliberal." Bolivian Studies Journal/Revista de Estudios Bolivianos 15 (January 15, 2011): 311–32. http://dx.doi.org/10.5195/bsj.2010.14.
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The aim of this essay is twofold: to analyze post-dictatorial Bolivian filmic discourse on the thematic of the nation vis-à-vis processes of decolonization, and to observe the effect that this relation had in the formation of subjectivities during the so called “neoliberal” era . Toward this end, I examine three films that reflect on the colonial condition of the nation through cinematographic language: Mi socio (Paolo Agazzi, 1982), La nación clandestina (Jorge Sanjinés, 1989), and American Visa (Juan Carlos Valdivia, 2005). El objetivo principal del presente ensayo es analizar la reflexión que se da en el discurso fílmico boliviano post-dictatorial sobre la temática de la nación en relación a procesos de descolonización; al mismo tiempo, observar el efecto que dicha relación tuvo en el proceso de formación de subjetividades durante la nueva época denominada “neoliberal”. Para ello, acudo a la lectura de tres películas que de distintas maneras reflexionan la condición colonial de la nación a través del lenguaje cinematográfico: Mi socio (Paolo Agazzi, 1982), La nación clandestina (Jorge Sanjinés, 1989), y American Visa (Juan Carlos Valdivia, 2005).
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Araujo, Bruno Novaes, and Claudio Luis de Camargo Penteado. "Aesthetic representations of political leadership in cinema - Lincoln (2012) and Getúlio (2014)." Intexto, no. 47 (August 6, 2019): 54–74. http://dx.doi.org/10.19132/1807-8583201947.54-74.
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This article aims to analyze the films Lincoln (2012) and Getúlio (2014), verifying through the cinematographic language the aesthetic representations of these emblematic political leaderships. The documentary and entertainment films historically carried symbolic forms aimed at building a discourse favorable to certain ideologies and/or political leaderships. Soon, this work will analyze the selected films that convey the images of these two political icons, Getúlio Vargas and Abraham Lincoln, each one in his time and place of action, trying to identify in the symbolic forms in them how they are represented and which frameworks are mobilized by the directors in order to generate on the spectators subjectivities about these political people. In order to carry out this work, a bibliographical analysis of the theoreticians pertinent to the theme will be carried out, as well as a filmic analysis of the previously chosen entertainment films, using as methodological reference for both the film analysis proposed by Manuela Penafria (2009) and Depth Hermeneutics , used by John Thompson (2012) in Ideologia e Cultura moderna.
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Chow, Rey. "A Phantom Discipline." Publications of the Modern Language Association of America 116, no. 5 (October 2001): 1386–95. http://dx.doi.org/10.1632/s0030812900113409.
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In the academic study of cinema, as in other kinds of academic discourses, one of the most commonly encountered questions these days tends to be some version of the following: Where in this discipline am I? How come I am not represented? What does it mean for me and my group to be represented in this manner? What does it mean for me and my group to have been made invisible? These questions pertain, of course, to the urgency and prevalence of the politics of identification, to the relation between representational forms and their articulation of subjective histories and locations. This is one reason the study of cinema, like the study of literature and history, has become increasingly caught up in the study of group cultures: every group (be it defined by nation, class, race, ethnicity, or sexual orientation), it seems, produces a local variant of the universal that is cinema, requiring critics thus to engage with the specificities of particular collectivities even as they talk about the generalities of the filmic apparatus. According to one report, for instance, at the Society of Cinema Studies Annual Conference of 1998, “nearly half the over four hundred papers (read from morning to night in nine rooms) treated the politics of representing ethnicity, gender, and sexuality” (Andrew 348).' Western film studies, as Christine Gledhill and Linda Williams write, currently faces its own “impending dissolution […] in […] transnational theorization” (Introduction 1). How did this state of affairs arise?