Relevant bibliographies by topics / M. Night Shyamalan

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  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'M. Night Shyamalan'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "M. Night Shyamalan"

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Sáez-González, Jesús Miguel. "El incidente (M. Night Shyamalan)." Vivat Academia, no. 97 (July 15, 2008): 11. http://dx.doi.org/10.15178/va.2008.97.11.

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Noel, Daniel C. "Signs of Love in Our Culture of Belief?Signs. Directed by M. Night Shyamalan , Screenplay by M. Night Shyamalan . In video/DVD." San Francisco Jung Institute Library Journal 22, no. 3 (November 2003): 85–90. http://dx.doi.org/10.1525/jung.1.2003.22.3.85.

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Maldonado Parra, Mireia. "El sexto sentido de M. Night Shyamalan. ¿Algo más que su sorprendente final?" Futhark. Revista de Investigación y Cultura, no. 12 (2017): 35–44. http://dx.doi.org/10.12795/futhark.2017.i12.04.

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De El sexto sentido de M. Night Shyamalan se destaca habitualmente el giro o “plot twist” que supone su sorprendente final. Sin embargo, como demostrará el presente artículo, el final de la cinta cuenta con numerosos antecedentes en el mundo del cine, incluso no reciente, y su verdadero valor ha de situarse más bien en la multiplicidad de interpretaciones que ofrece. El presente artículo pretende mostrar parte de esta diversidad presentando interpretaciones y análisis de críticos que saben encontrar en la película su capacidad de abordar cuestiones existenciales muy profundas.
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Putra, Destha Pratama, and Endang Yuliani Rahayu. "CHARACTER BELIEF AND BEHAVIOUR POTRAYED IN M.NIGHT SHYMALAN’S DEVIL (2010) AS A PSYCHOANALYSIS STUDY." Dinamika Bahasa dan Budaya 15, no. 1 (June 19, 2020): 20–28. http://dx.doi.org/10.35315/bb.v15i1.7891.

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This research entitled Character Belief and Behaviour Potrayed in M. Night Shyamalan’s Devil (2010) As A Psychoanalysis Study. In this research the researcher analyzes the character belief and behaviour toward superstition in M. Night Shyamalan’s Devil (2010). The object used in this research is a film by M. Night Shyamalan entitled Devil In analyzing the data researcher applied a qualitative research. The technique that used to analyze the film is by reading the script and watching the movie and then the researcher applied Carl Gustav Jung's theory of consciousness, namely personal unconscious, collective unconscious, and archetype. Data is collected by watching films and reading dialogue scripts. After analyzing the data it can be concluded that the reason why the character believes in superstition is due to the story of the character's mother and opinions that are repeated over and over. The behavior that is reflected by the character after believing in superstition is the character trying to solve the case using a religious point of view. Meanwhile the effect that arises after believing in superstition is that they succeed in knowing and realizing that the mastermind behind the case is devil.
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Pomerance, Murray. "What Ever isHappeningto M. Night Shyamalan: Meditation on an ‘Infection’ Film." Film International 8, no. 1 (February 2010): 34–46. http://dx.doi.org/10.1386/fiin.8.1.34.

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De Souza, Elainy Fátima. "Uma análise sobre a religião e o medo em "A Vila" de M. Night Shyamalan." Sacrilegens 16, no. 2 (February 28, 2020): 102–17. http://dx.doi.org/10.34019/2237-6151.2019.v16.29069.

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Este artigo tem por objetivo analisar como o diretor M. Night Shyamalan a partir do filme A Vila (2004) utiliza a linguagem cinematográfica para mostrar como os símbolos (as cores amarela e vermelha) e o medo são retratados em uma comunidade do século XIX, cercada por uma floresta misteriosa. Para tal pesquisa, será priorizada a percepção hermenêutica da religião.
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Silliman, Barbara. "Go Into the Light, Children: M. Night Shyamalan and The Sixth Sense." South Asian Review 23, no. 2 (December 2002): 36–37. http://dx.doi.org/10.1080/02759527.2002.11932282.

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Sheen, Anna, Katherine Chung, Nashali Ferrara, and Douglas Opler. "The Psychiatrist as the Repressor of the Extraordinary in Glass, directed by M. Night Shyamalan, 2019." Journal of Medical Humanities 41, no. 4 (June 24, 2020): 579–84. http://dx.doi.org/10.1007/s10912-020-09641-7.

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Dean, Rob. "From melodrama to blockbuster: a comparative analysis of musical camouflage in Victorian theatre and twenty-first-century film." Studies in Musical Theatre 1, no. 2 (August 31, 2007): 139–52. http://dx.doi.org/10.1386/smt.1.2.139_1.

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This article explores the use of music as a functional device which disguises the artificial construction of narrative media. The identification of the principles behind the specific positioning of musical material in the presentation of film and theatre reveals that in certain scenarios the aural accompaniment is not simply utilized as an emotive tool. Instead the polemic pursued in this article reveals that music also fulfils the practical purpose of camouflaging narrative leaps in time, space and dimension. Furthermore the comparative analysis of nineteenthcentury dramatic texts penned by Dion Boucicault and twenty-first-century films written and directed by M. Night Shyamalan establishes both an interdisciplinary connection between the two media forms and highlights the parallel musical practices employed in the past and the present.
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Silva, Valéria Cristina Pereira. "Espaços imaginários no filme a Dama na Água de M. Night Shyamalan: a narrativa na pós-modernidade / Shyamalan’s Lady in the water imaginary’s spaces: the narrative at postmodernity." Geograficidade 8, no. 1 (October 28, 2018): 16. http://dx.doi.org/10.22409/geograficidade2018.81.a12986.

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As obras de arte contemporâneas dizem muito sobre a nossa época, sobre o modo como a percebemos e como a vivenciamos. É com esta intenção que buscamos neste trabalho fazer uma leitura dos espaços imaginários e da narrativa na pós-modernidade a partir do filme A Dama na Água do cineasta M. Night Shyamalan. Dentre os temas que o filme aborda estão a retomada do mito no cotidiano, a emergência do imaginário e o papel que a ficção tem na transformação da realidade. A metodologia da análise fílmica é realizada a partir da semiótica da imagem, da hermenêutica simbólica e do aporte fenomenológico, sobretudo, presente nas obras de G. Bachelard e G. Durand. No filme o lugar sofre mudanças a partir do reencantamento, da presença do mito e o espaço transforma-se à medida em que os personagens envolvem-se para salvar Story, ao passo que adquirem outra perspectiva para encarar o mundo a sua volta. O enredo traça uma ideia de despertar, como ir além, devolvendo à vida e ao lugar, o sonho de uma narrativa a muito esquecida. Com a narrativa sobre um livro dentro do filme e uma história que fala sobre história, a metaficção presente no filme entrecruza ao longo da trama os papéis da narrativa fílmica e literária, reservando um papel contundente à critica. É nesta atmosfera complexa que buscaremos encontrar na filmografia de A Dama na Água traços na nossa pós-modernidade latente.
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Dissertations / Theses on the topic "M. Night Shyamalan"

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Coura, Henrique da Silveira. "Cinema e religião: a inefabilidade dos conceitos-imagem em M. Night Shyamalan." Pontifícia Universidade Católica de São Paulo, 2009. https://tede2.pucsp.br/handle/handle/2112.

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Made available in DSpace on 2016-04-25T19:20:59Z (GMT). No. of bitstreams: 1 Henrique da Silveira Coura.pdf: 716510 bytes, checksum: 7b528097cc90abec82b94a08f81d3da4 (MD5) Previous issue date: 2009-05-27
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This work aims to strengthen relations between the studies of cinema and the sciences of religion, broadening the horizons for analysis and exchanges between both sides. It also enhances the concept of logopathia, introduced by Julio Cabrera, combining the philosophy of religion, for its ineffable bias, and confirming the effectiveness and reflexive methodological originality of image-concepts. The text takes a new look at the films of M. Night Shyamalan and studies the significance of his work so far. Perceiving a void in interdisciplinary studies between cinema and religion, we hypothesized that the logopathia described by Cabrera represents a new way to understand principles of philosophy of religion. As a method of reasoning, it articulates negative descriptions in order to formulate image-concepts holding an ineffable feature of the religious field, therefore representing a founder prism of understanding, completely alien to classical theories of knowledge. The films of M. Night Shyamalan are analyzed in order to understand how the concepts of ineffable-image increased understanding of traditional concepts of academic studies in science of religion and make a new way of philosophical studies and formatting for the area
Este trabalho tem como objetivo estreitar as relações entre o cinema e as ciências da religião, ampliando os horizontes para análise e permutas entre ambos os lados. Busca-se também, incrementar o conceito de Logopatia introduzido por Julio Cabrera, aliando-o filosofia da religião por seu viés inefável, comprovando a eficácia reflexiva e originalidade metodológica dos conceitos-imagem para as ciências da religião. A obra também lança um novo olhar sobre os filmes de M. Night Shyamalan, aprofundando os estudos sobre sua significativa obra até então. Percebendo um vácuo nos estudos interdisciplinares entre cinema e religião, desenvolvemos hipótese de que a Logopatia descrita por Cabrera representa um novo modo de conhecer princípios da filosofia da religião. Enquanto método de raciocínio ela articula descrições negativas de forma a formular conceitos-imagem detentores de uma inefabilidade característica do campo religioso, representando um prisma fundador de saber completamente alheio às teorias clássicas de conhecimento. Os filmes de M. Night Shyamalan são analisados de forma a perceber como esta inefabilidade dos conceitos-imagem, incrementa o entendimento de conceitos tradicionais dos estudos acadêmicos em ciências da religião, formulando uma nova via de estudos e de formatações epistemológicas para a área
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Tarragó, Mussons Anna. "El fantàstic en mons ordinaris: Michael Night Shyamalan o la segona generació de Storytellers fantàstics." Doctoral thesis, Universitat Ramon Llull, 2020. http://hdl.handle.net/10803/668977.

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Aquesta tesi doctoral té com a objecte d’estudi l’obra fílmica del director M. N. Shyamalan i la reformulació autoral que efectua de la tradició narrativa sobre el fet fantàstic com a cineasta contemporani del gènere híbrid de fantasia d’aventures. A partir de la fonamentació en les aportacions teòriques de la narratologia, la sociosemiòtica, el neoformalisme i els estudis culturals, s’aplica una metodologia qualitativa a través d’entrevistes exploratòries a autors de referència i, sobretot, de l’anàlisi fílmica dels deu films (1999-2019) en què el cineasta intervé com a director, guionista i/o productor. L’organització de la graella d’anàlisi permet identificar quatre tipus de categories: a) característiques generals de la pel·lícula, que permeten identificar elements contextuals de la producció i la intervenció de les lògiques de la indústria audiovisual; b) característiques del sistema formal fílmic (recursos narratius); c) característiques del sistema estilístic (codis cinematogràfics), i d) característiques autorals en relació a la recurrència o renovació dins del gènere de fantasia. Finalment, s’assoleixen els objectius de demostrar que Shyamalan recull el relleu i fa un homenatge volgut a l’anomenada primera generació de Storytellers fantàstics -en què destaca particularment la influència de Spielberg-, i alhora inaugura, com a representant emblemàtic, una segona generació amb voluntat de contenció de l’espectacularitat dins de l’assumida pertinença a la cultura mainstream, tot i que en Shyamalan aquesta tensió es particularitza en la consideració del fantàstic transcendental.
Esta tesis doctoral tiene como objeto principal de estudio la obra fílmica del director M. N. Shyamalan y la reformulación autoral que éste efectúa de la tradición narrativa sobre el hecho fantástico en tanto que cineasta contemporáneo del género híbrido de la fantasía de aventuras. A partir de la fundamentación en las aportaciones teóricas de la narratología, la sociosemiótica, el neoformalismo y los estudios culturales, se aplica una metodología cualitativa a partir de entrevistas exploratorias a autores de referencia y, sobre todo, del análisis fílmico de las diez películas (1999-2019) en las cuales interviene como director, guionista y/o productor. La organización de la ficha o parrilla de análisis permite identificar cuatro tipologías de categorías: a) características generales de la película, que permiten identificar elementos contextuales de la producción y la intervención de las lógicas de la industria audiovisual; b) características del sistema formal fílmico (recursos narrativos); c) características del sistema estilístico (códigos cinematográficos), y d) características autorales respecto a la recurrencia o renovación dentro del género de la fantasía. Finalmente, se alcanzan los objetivos de demostrar que Shyamalan asume el relevo y hace un homenaje deliberado a la primera generación de Storytellers fantásticos, además de inaugurar, como representante emblemático, una segunda generación con voluntad de contención de la espectacularidad dentro de su pertenencia o inclusión en la cultura mainstream, aunque en Shyamalan, esta tensión se vea particularizada en la consideración del fantástico trascendental.
This doctoral thesis studies the filmography of director M. N. Shyamalan, paying special attention to his reformulation of the narrative tradition of the Fantastic Fact as a contemporary filmmaker within the hybrid genre of Adventure Fantasy. Starting off from different theoretical contributions in the fields of Narratology, Social Semiotics, New Formalism and Cultural Studies, this research applies a qualitative methodology based on exploratory interviews with referenced authors and the analysis of the ten films (1999-2019) by Shyamalan as director, screenwriter and/or producer. The analysis identifies four main categories: a) General characteristics of the films, identifying contextual elements of the production and intervention of the cinema industry logics; b) Characteristics of the formal system (narrative resources of the films); c) Characteristics of the stylistic system (cinema codes), and d) Authorial characteristics regarding the recurrence or renewal within the fantasy genre. All in all, this study proves that Shyamalan takes over and makes a tribute to the First generation of Fantastic Storytellers. In addition, the work shows that this director could start a Second Generation with a will to restrain spectacularity within its inclusion to the mainstream, even becoming an emblematic representative. Finally, this research also concludes that this narrative tension in Shyamalan is to be considered as Transcendental Fantasy.
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Götesson, Hanna. "En kluven gestaltning av en delad karaktär : Skildring av dissociativ identitetsstörning i filmen Split (2016)." Thesis, Högskolan Dalarna, Bildproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-35741.

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Avsikten med denna uppsats är att undersöka hur dissociativ identitetsstörning (DID)gestaltas i filmen Split. Stereotyper och missuppfattningar har representerats länge i filmom psykiatriska sjukdomar och Split har blivit kritiserad för sin gestaltning avsyndromet, dock ser verkligheten med diagnosen olika ut. Analysen utforskar filmengenom de fyra DSM-IV kriterierna för DID. Scener analyseras med hjälp av Jens Ederskaraktärsklocka och representation av personer med DID som de andra, vilket innebärpersoner med psykiatriska sjukdomar ofta blir alienerade i film, och vi tillsammans, somfokuserar på hur de humaniseras och inkluderas samt stimulerar publikens medkänsla.Dessa metoder har använts för att komma fram till att filmen förhåller sig till DSM-IVkriterierna men att självaste gestaltningen av DID-karaktären är problematisk.Komplexa symptom i syndromet diskuteras i filmen men i slutändan framställs personermed DID som en fara för sig själva och andra, vilket kan bidra till att skada derassjälvbild
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Books on the topic "M. Night Shyamalan"

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M. Night Shyamalan: Filmare l'ombra dell'esistenza. Rottofreno (PC) [i.e. Piacenza, Italy]: Morpheo, 2007.

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Weinstock, Jeffrey Andrew, ed. Critical Approaches to the Films of M. Night Shyamalan. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230112094.

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Singer, A. L. M. Night Shyamalan's The sixth sense: A novelization. New York: Scholastic, Inc., 2000.

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Kreuzer, Marco. Die Dramaturgie des Unheimlichen bei M. Night Shyamalan (German Edition). VDM Verlag Dr. Müller, 2008.

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Andrew, Weinstock Jeffrey, ed. Critical approaches to the films of M. Night Shyamalan: Spoiler warnings. New York: Palgrave Macmillan, 2010.

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Weinstock, J. Critical Approaches to the Films of M. Night Shyamalan: Spoiler Warnings. Palgrave Macmillan, 2015.

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Bamberger, Michael. The Man Who Heard Voices: Or, How M. Night Shyamalan Risked His Career on a Fairy Tale. Gotham, 2006.

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Bamberger, Michael. The Man Who Heard Voices: Or, How M. Night Shyamalan Risked His Career on a Fairy Tale and Lost. Gotham, 2007.

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Singer, A. L. M. Night Shyamalan's The Sixth Sense: A Novelization. Scholastic Paperbacks, 2000.

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Book chapters on the topic "M. Night Shyamalan"

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Fowkes, Katherine A. "Four Films by M. Night Shyamalan." In Critical Approaches to the Films of M. Night Shyamalan, 71–87. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230112094_5.

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Hills, Matt. "Making Sense of M. Night Shyamalan." In Critical Approaches to the Films of M. Night Shyamalan, 103–18. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230112094_7.

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Pomerance, Murray. "What Ever is Happening to M. Night Shyamalan." In Critical Approaches to the Films of M. Night Shyamalan, 203–18. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230112094_13.

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Jordan, Miriam, and Julian Jason Haladyn. "Simulations of Evil in M. Night Shyamalan’s The Village." In Critical Approaches to the Films of M. Night Shyamalan, 175–88. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230112094_11.

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Burdeau, Emmanuel. "The Night Book, or The Mirror and the Page." In Critical Approaches to the Films of M. Night Shyamalan, 89–99. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230112094_6.

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Abele, Elizabeth. "The Home-Front Hero in the Films of M. Night Shyamalan." In Critical Approaches to the Films of M. Night Shyamalan, 3–18. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230112094_1.

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Yockey, Matt. "Unbreak My Heart." In Critical Approaches to the Films of M. Night Shyamalan, 159–74. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230112094_10.

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Parker, Nicholas, and Nirmal Trivedi. "“Something Ancient in modern times”." In Critical Approaches to the Films of M. Night Shyamalan, 189–201. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230112094_12.

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Rosen, Elizabeth. "Reaching Out to the Other Side." In Critical Approaches to the Films of M. Night Shyamalan, 19–33. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230112094_2.

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Palmer, R. Barton. "Melodrama and Male Crisis in Signs and Unbreakable." In Critical Approaches to the Films of M. Night Shyamalan, 35–51. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230112094_3.

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