Log in

Relevant bibliographies by topics / Narration in the Fiction Film

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers
Reports

Academic literature on the topic 'Narration in the Fiction Film'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Narration in the Fiction Film.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Narration in the Fiction Film"

1

Schlickers, Sabine. "Perturbatory narration in literature und film." Frontiers of Narrative Studies 3, no. 2 (November 23, 2017): 206–23. http://dx.doi.org/10.1515/fns-2017-0014.

Full text

Abstract:

AbstractPerturbatory narration is a new transmedial narratological concept conceived in order to analyze how innovative experimental fictional texts irritate the reader or spectator by transgressing or annulating the rules of the common narrative system. We distinguish three ludic narrative techniques which are sometimes even mutually exclusive, but nevertheless frequently combined in literary and filmic fiction. Perturbatory narration serves to model and systematize a narrative principle which combines devices of these three strategies, in particular of unreliable narration, paradoxical narration and puzzling narration. The dynamic interplay of these devices is illustrated with two short stories by Julio Cortázar, “Continuidad de los parques”/“The continuity of parks” (1964) and “Graffiti” (1980) and the filmic adaptation Furia (1999) of the latter.

APA, Harvard, Vancouver, ISO, and other styles

2

Olsen, Jon-Arild. "Film, fiction et narration." Poétique 141, no. 1 (2005): 71. http://dx.doi.org/10.3917/poeti.141.0071.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

O'Brien, Charles, David Bordwell, and Edward Branigan. "Narration in the Fiction Film." SubStance 15, no. 3 (1986): 96. http://dx.doi.org/10.2307/3684717.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Bareis, J. Alexander. "The Implied Fictional Narrator." Journal of Literary Theory 14, no. 1 (March 1, 2020): 120–38. http://dx.doi.org/10.1515/jlt-2020-0007.

Full text

Abstract:

AbstractThe role of the narrator in fiction has recently received renewed interest from scholars in philosophical aesthetics and narratology. Many of the contributions criticise how the term is used – both outside of narrative literature as well as within the field of fictional narrative literature. The central part of the attacks has been the ubiquity of fictional narrators, see e. g. Kania (2005), and pan-narrator theories have been dismissed, e. g. by Köppe and Stühring (2011). Yet, the fictional narrator has been a decisive tool within literary narratology for many years, in particular during the heyday of classical literary narratology. For scholars like Genette (1988) and Cohn (1999), the category of the fictional narrator was at the centre of theoretical debates about the demarcation of fiction and non-fiction. Arguably, theorising about the fictional narrator necessitates theorising about fiction in general. From this, it follows that any account on which the fictional narrator is built ideally would be a theory of fiction compatible with all types of fictional narrative media – not just narrative fiction like novels and short stories.In this vein, this paper applies a transmedial approach to the question of fictional narrators in different media based on the transmedial theory of fiction in terms of make-believe by Kendall Walton (1990). Although the article shares roughly the same theoretical point of departure as Köppe and Stühring, that is, an analytical-philosophical theory of fiction as make-believe, it offers a diametrically different solution. Building on the distinction between direct and indirect fictional truths as developed by Kendall Walton in his seminal theory of fiction as make-believe (1990), this paper proposes the fictional presence of a narrator in all fictional narratives. Importantly, ›presence‹ in terms of being part of a work of fiction needs to be understood as exactly that: fictional presence, meaning that the question of what counts as a fictional truth is of great importance. Here, the distinction between direct and indirect fictional truths is crucial since not every fictional narrative – not even every literary fictional narrative – makes it directly fictionally true that it is narrated. To exemplify: not every novel begins with words like »Call me Ishmael«, i. e., stating direct fictional truths about its narrator. Indirect, implied fictional truths can also be part of the generation of the fictional truth of a fictional narrator. Therefore, the paper argues that every fictional narrative makes it (at least indirectly) fictionally true that it is narrated.More specifically, the argument is made that any theory of fictional narrative that accepts fictional narrators in some cases (as e. g. suggested by proponents of the so-called optional narrator theory, such as Currie [2010]), has to accept fictional narrators in all cases of fictional narratives. The only other option is to remove the category of fictional narrators altogether. Since the category of the fictional narrator has proved to be extremely useful in the history of narratology, such removal would be unfortunate, however. Instead, a solution is suggested that emphasizes the active role of recipients in the generation of fictional truths, and in particular in the generation of implied fictional truths.Once the narratological category of the fictional narrator is understood in terms of fictional truth, the methodological consequences can be fully grasped: without the generation of fictional truths in a game of make-believe, there are no fictional narratives – and no fictional narrators. The fictionality of narratives depends entirely on the fact that they are used as props in a game of make-believe. If they are not used in this manner, they are nothing but black dots on paper, the oxidation of silver through light, or any other technical description of artefacts containing representations. Fictional narrators are always based on fictional truths, they are the result of a game of make-believe, and hence the only evidence for a fictional narrator is always merely fictional. If it is impossible to imagine that the fictional work is narrated, then the work is not a narrative.In the first part of the paper, common arguments for and against the fictional narrator are discussed, such as the analytical, realist, transmedial, and the so-called evidence argument; in addition, unreliable narration in fictional film will be an important part in the defence of the ubiquitous fictional narrator in fictional narrative. If the category of unreliable narration relies on the interplay of both author, narration, and reader, the question of unreliable narration within narrative fiction that is not traditionally verbal, such as fiction films, becomes highly problematic. Based on Walton’s theory of make-believe, part two of the paper presents a number of reasons why at least implied fictional narrators are necessary for the definition of fictional narrative in different media and discusses the methodological consequences of this theoretical choice.

APA, Harvard, Vancouver, ISO, and other styles

5

Ruiz Carmona, Carlos. "The Fiction in Non-Fiction Film." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 17, no. 2 (July 1, 2019): 10–31. http://dx.doi.org/10.7195/ri14.v17i2.1238.

Full text

Abstract:

Over the past few decades film theory, major scholars and acclaimed filmmakers have established that documentary just like fiction must resort to ambiguous and subjective rhetorical figures in order to represent the world. This has led some scholars to conclude that documentary as a term referring to itself as being non-fictional might be disregarding its inevitable fictional elements. This may imply that both documentary and fiction use the same strategies and obtain the same results when representing the world: ficitionalize reality. If we accept this claim as true we need to ask whether terms such as fiction and non-fiction or documentary make sense when discussing representing reality. Does this mean that cinema can only fictionalize reality and therefore we should erradicate from this discussion tems such as non-fiction or documentary due to their associated “truth” claim? Can we understand or discuss representing reality without referring to those terms? Can the term fiction exists in fact without refferring to the term non-fiction or documentary? The questions that this paper intends to answer are: What roles do documentary and fiction play in representing the historical world? Are these terms necessary to comunicate and understand representing reality? This paper has established that fiction and documentary are necessary terms that emerge in cinema narration as means to mirror human experience’s needs to organize, communicate and understand reality.

APA, Harvard, Vancouver, ISO, and other styles

6

Kozloff, Sarah. ": Narration in the Fiction Film . David Bordwell." Film Quarterly 40, no. 1 (October 1986): 43–45. http://dx.doi.org/10.1525/fq.1986.40.1.04a00150.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Santyaputri, Lala, Olivia Nursalim, and Catherine Karenina. "Eksplorasi Visual Naratif Indonesia-Tionghoa dalam Film Karya Mahasiswa." DESKOMVIS: Jurnal Ilmiah Desain Komunikasi Visual, Seni Rupa dan Media 1, no. 1 (March 9, 2020): 46–55. http://dx.doi.org/10.38010/dkv.v1i1.6.

Full text

Abstract:

Indonesian-Chinese in Indonesian films rarely become the main subject of the narrative and even still marginalized. Marginalization in Indonesian-Chinese looks back at the Indonesian history, which doesn’t provide the similar space as other Indonesian citizens. The development of Indonesian films now gives new space to new filmmakers, especially those academicaly speaking graduated from film schools. Narative and visual analysis was carried out on two works on Indonesian-Chinese by using a narrative research methodology with a qualitative approach. Stages of research conducted by the director will be the starting point in this research, especially in studying history. The research objects of these studies taken the biopic documentary "Lebih Cina dari Tionghoa" (2019), and the fiction genre film "Bulikan"(2019). These two films represent present-day and Indonesian-Chinese representations. This research is a study of representation on the visualization and narration of film by young generation.

APA, Harvard, Vancouver, ISO, and other styles

8

Kozloff, Sarah. "Review: Narration in the Fiction Film by David Bordwell." Film Quarterly 40, no. 1 (1986): 43–45. http://dx.doi.org/10.2307/1212310.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Fedotkin, S. V. "Keynote Narration and Theory of Distance: Analysis of the Seasons." Journal of Flm Arts and Film Studies 9, no. 3 (September 15, 2017): 70–83. http://dx.doi.org/10.17816/vgik9370-83.

Full text

Abstract:

The article explores the leitmotif narration in cinema, i.e. the one based on transitions from one leitmotif to another as exemplified by Artavazd Peleshians short non-fiction film Seasons of the Year. The peculiarity of Peleshians artistic method is that he does not proceed by relations between adjoining images but between the disjoint ones which results in their repetition. The dramaturgy of Seasons of the Year is based on transitions from one leit-motif to another. The main ones here, as well as in other Peleshians films, are the themes of cosmos and chaos.

APA, Harvard, Vancouver, ISO, and other styles

10

Loriguillo-López, Antonio. "La comunicabilidad de lo ambiguo: una propuesta narratológica para el análisis de la ficción televisiva compleja." Signa: Revista de la Asociación Española de Semiótica 28 (June 28, 2019): 867. http://dx.doi.org/10.5944/signa.vol28.2019.25097.

Full text

Abstract:

El presente artículo propone una metodología de análisis de la narración ambigua en la ficción televisiva contemporánea, rasgo estilístico al alza entre propuestas comerciales. A través de la adaptación y aplicación de la comunicabilidad enunciada por David Bordwell como estrategia narrativa en su estudio de los modos de narración cinematográficos a una muestra de series dramáticas de origen anglosajón, se ofrece un primer tratamiento del modo narrativo de lo que desde los estudios televisivos se ha identificado como televisión compleja. Finalmente, se apunta a la correspondencia de este modelo con una nueva fase del modelo de narración del audiovisual postclásico.The present article proposes a methodology of analysis of the ambiguous narration in contemporary television fiction, a stylistic feature on the rise among commercial titles. Through the adaptation and application of the communicativeness formulated by David Bordwell as one of the categories of narrative strategies in his examination of the modes of narration in film to a sample of drama series produced in English-speaking regions, we offer a primary approach to the narrative mode of what has come to be known in the field of Television Studies as complex TV. Lastly, we note the correspondence between this model and a new phase of the audiovisual post-classical narration.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Narration in the Fiction Film"

1

Bignell, Jonathan. "The moving image : narrative construction in film and television fiction." Thesis, University of Sussex, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303240.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Lundqvist, David. "Ett dolt narrativ : En kognitiv studie av Richard Linklaters film Waking Life (2001)." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-26938.

Full text

Abstract:

Syftet med denna uppsats är att analysera filmen Waking Life (Richard Linklater, 2001) utifrån David Bordwells narratologiska perceptionsteorier för att tydliggöra filmens narrativa konstruktion på ett kognitivt plan. På senare år har det kommit allt fler filmer som utmanar åskådaren med ett experimentellt berättelseformat. Waking Life tillhör den gruppen men lämnar också extra rum för åskådarens egna tolkningar. Genom ett fokus på filmens protagonist och dennes öde så riktar uppsatsens näranalys in sig på filmens underliggande berättelse, som i filmen döljer sig och samtidigt blandas med filmens filosofiskt inriktade innehåll. Näranalysen anknyter ständigt till Bordwells teorier som också visar sig vara väl användbara för en grundläggande linjär analys, men uppmärksammar samtidigt vissa av teorins brister. Sammanfattningsvis förtydligar uppsatsen detta genom att peka på vikten av åskådarens medvetenhet om vem eller vilka det är som egentligen berättar en film. Här är Waking Life med sitt experimentella narrativa upplägg och känslan av ett högst personligt berättande ett passande exempel.

APA, Harvard, Vancouver, ISO, and other styles

3

Maillet, Adam Michael. "The Theory of Narrative Balance and its Application to High Stakes Fiction." Thesis, University of Louisiana at Lafayette, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10002462.

Full text

Abstract:

This dissertation seeks to create a theory of narrative balance based upon the connection between economics and literary narrative, and to apply that theory to postmodern texts, which confront issues of space, economics, and narrative. I use sources in both postmodern economic and cultural theory, as well as the more modern influences of cognitive science, narratology, and evolutionary psychology. My work will build on the work of several cognitive and evolutionary scholars, including David Herman, Lisa Zunshine, Blakey Vermeule, Nancy Easterlin, and Merlin Donald, but the concept of “space” creates a gap through which I blend theories of the postmodern with cognitive psychology. I argue that narrative fictions have an “economic” quality to them and that causality becomes increasingly conflated with what some would call “meaning,” others, “literariness.”

APA, Harvard, Vancouver, ISO, and other styles

4

Moss, Jaime. "Archiving Loss: The Man Who Burned Paper." OpenSIUC, 2014. https://opensiuc.lib.siu.edu/theses/1406.

Full text

Abstract:

AN ABSTRACT OF THE THESIS OF JAIME MOSS for the Master of Fine Arts degree in MASS COMMUNICATIONS AND MEDIA ARTS, presented on FEBRUARY 13TH, 2014 at Southern Illinois University Carbondale. TITLE: ARCHIVING LOSS: THE PAPER MAN BEHIND THE MASK MAJOR PROFESSOR: Sarah Lewison, H.D. Motyl, Fern Logan, Dru Vratil This paper is companion to the narrative short, The Man Who Burned Paper. Both this paper and the film deal with the subject of identity loss as an archive, building on the work of sociologists Andrew J. Weigert and Ross Hastings. Drawing on several sources, including the work of literary scholars, affect theorists, and an excerpt from This American Life, this paper explores what it is to create and lose an identity both experimentally and existentially. It develops beyond this exploration by reconstructing it through a cinematic format that uses memories, flashbacks, and body doubles to narrate one man's identity construction and his journey to come to terms with its loss. It concludes that while identity loss is a unique experience, reflecting upon the loss and dysfunction it can bring can create space to understand the sorrow and pain that accompanies it. It is with hope that the findings discovered from this deeply personal and challenging process will act as a guide towards future actions that allow for new opportunities that improve the quality of life and a broader mindset.

APA, Harvard, Vancouver, ISO, and other styles

5

Walters, Peter. "Narrative in fiction and film : a practical study of the nature of cross-pollination in narrative structure." Thesis, University of Sheffield, 2015. http://etheses.whiterose.ac.uk/11930/.

Full text

Abstract:

Written literature has evolved significantly over the centuries. The typical novel of the twenty-first century is different in form from the novel of the mid-nineteenth. Modern novels tend to have less descriptive exposition and are less apt to follow previous conventions of omniscient narration. What factors have influenced this change? At the end of the nineteenth century, for the first time in recorded history, a new art form emerged, one that was based on the technological achievement of the recorded moving image. This study examines to what extent, and in which ways, the new art form, cinema, has affected written literature, particularly the novel. What are the elements of cinema technique that have influenced writing on a structural level? How do they manifest themselves at a level of text? The research framework approaches these questions both theoretically and practically. The theoretical aspect examines sets of texts to see if anything definitive can be stated about this ‘cross-pollination’ of form. The investigative paradigm pursues avenues of research that incorporate structural analyses of texts and also the ways in which those texts operate at a level of mental processing. My intention is to concentrate more fully on ‘what those texts are doing’ rather than ‘what they are’. The approach is broadly ‘cognitive’, one that examines the processes that are undertaken during the reception of texts and during their production. The practical element of this framework is in the form of a novel, Jacks, which forms Volume 2 of this study. Here, the fictional account is designed to reflect aspects of the theoretical approach and to include subject matter pertaining to film and creative processes, to illustrate elements of the theory in a creative form. A final section proposes practical outcomes for the theory in the fields of creative writing practice and pedagogy.

APA, Harvard, Vancouver, ISO, and other styles

6

Simpson, Harriet. "Looking into distance : feminine narrative strategies and the male gaze in female narrated prose fiction 1680-1780." Thesis, University of Liverpool, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366975.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Gupta, Anjali. "Beneath Still Waters: An Exploration of Transmedia Narratives and Twitter Fiction." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/604.

Full text

Abstract:

Beneath Still Waters is an original transmedia mystery narrative that explores the possibilities of an interconnected media landscape as a unique platform for creative use and audience engagement. Transmedia storytelling refers to the building of a fictional world comprised of multiple parts across different platforms, where each component makes a valuable contribution to the whole. This project uses the tools and strategies of social media to tell a complex and interactive multi-platform story.

APA, Harvard, Vancouver, ISO, and other styles

8

Richards, Samantha. "The Construction of Truth in Fiction: An Analysis of the Faux Footage Genre in Television." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1197.

Full text

Abstract:

This paper explores the way that “truth” is constructed in a fictional sphere through visual and narrative references. I draw upon Caetlin Benson-Allott’s Paranormal Spectatorship, and Jay David Bolter and Richard Grusin’s Remediation to inform my analysis of these constructions. I look specifically at Roanoke, the sixth season of American Horror Story, to provide examples of the way faux footage horror’s unique use of the subjective shot constructs the spectator as both a witness and an interrogator, and creates an aesthetic language of truth. While being immersed in the story, viewers are simultaneously invited to consider how the narrative is being constructed, and by whom. This parallactic viewing experience suggests a future for the unique challenge of serialized televisual horror.

APA, Harvard, Vancouver, ISO, and other styles

9

Johansson, Christer. "Mimetiskt syskonskap : En representationsteoretisk undersökning av relationen fiktionsprosa-fiktionsfilm." Doctoral thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7447.

Full text

Abstract:

The dissertation deals with two different subjects: on the one hand the interrelations of narrative prose fiction and narrative fiction film, on the other hand fictional narration and intermediality as such. The first part discusses the concepts of medium and intermediality, and presents some general theoretical models. Of special importance is the three level structure of fictional representations: sign vehicle, meaning and fictional content. The second part focuses on the qualities of the sign vehicle, and on different kinds of meaning and fictional content. The sign vehicle of language and literature is digital, and consists of replicas of types. The film medium is analogue, the cinematic sign is a copy. The conventionality of literary fictions is primary, i. e. literary meaning depends on the conventions of language. The conventionality of film narratives is secondary, mediated by non-conventional meaning. The second part also deals with specific, general, generic, concrete and abstract meaning, and discusses the concepts of metaphor, symbol and expression. Part three focuses on iconic and index relations, i. e. relations of similarity and contiguity, of the fictional representation. Cinematic narratives are characterized by primary iconicity, i. e. all meaning and fictional content are dependent on the iconic relation between the poles of the representation. The iconicity of prose fiction is, by contrast, secondary, mediated by conventional sign relations. Also abductive and performative, fictional and non-fictional indexical signs, and different kinds of implications and lacunas are discussed. Part four deals with the concepts of fictionality and narrative perspective, such as the fictional stance, the narrator and focalization. Four different notions of fictionality are scrutinized and brought together, and narrative perspective is described and analyzed in terms of two different game fictions: epic games and perceptual games. Depending on the semiotic resources, the possibilities and limits of prose fiction and fiction film described in the first three parts of the dissertation, fictional games are shown to be more or less rich and realistic.

APA, Harvard, Vancouver, ISO, and other styles

10

Martel, Alexandre. "Intermédialité et déconstruction de la fiction chez Alain Robbe-Gillet : analyse comparative de "La maison de rendez-vous" et de "L'homme qui ment"." Master's thesis, Université Laval, 2016. http://hdl.handle.net/20.500.11794/26823.

Full text

Abstract:

Alain Robbe-Grillet, d’abord connu en tant que romancier, a dès le début des années 1960 partagé son temps entre le cinéma et la littérature. Après avoir fourni le scénario de L’année dernière à Marienbad, il est passé derrière la caméra et a réalisé une dizaine de films qui, tant par leur forme que leur propos, poursuivent les recherches esthétiques entreprises dans sa pratique littéraire. Plus encore, il nous semble que le début de cette aventure cinématographique marque un tournant dans son œuvre. Alors que le point de vue qui portait les premiers romans — point de vue que les critiques ont rapproché de celui d’une caméra —, marquait déjà la dimension intermédiale de son œuvre, il apparaît que son passage dans la chaise du réalisateur a été le germe d’une radicalisation de sa pratique. Ainsi, les romans et les films qui ont suivi possèdent une portée intermédiale beaucoup plus large. De fait, c’est l’ensemble de la narration qui s’y trouve remise en question par la mise en évidence des spécificités de chacun des médias et par la transposition de procédés propres à la littérature dans le film, et vice versa. C’est par une étude comparative de La maison de rendez-vous (1965) et de L’homme qui ment (1968) que nous montrons en quoi consiste la relation intermédiale que Robbe-Grillet établit entre les disciplines, en plus de mettre en évidence les mécaniques qui, ancrées dans la matérialité des médias, fondent le roman et le film.

APA, Harvard, Vancouver, ISO, and other styles

More sources

Books on the topic "Narration in the Fiction Film"

1

Bordwell, David. Narration in the fiction film. Madison, WI: University of Wisconsin Press, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Bordwell, David. Narration in the fiction film. London: Routledge, 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Narration in the fiction film. London: Routledge, 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

Narration in the fiction film. Madison, Wis: University of Wisconsin Press, 1985.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Narrative in fiction and film: An introduction. Oxford: Oxford University Press, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Kozloff, Sarah. Invisible storytellers: Voice-over narration in American fiction film. Berkeley: Univ.California P., 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Invisible storytellers: Voice-over narration in American fiction film. Berkeley: University of California Press, 1988.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Lothe, Jakob. Fiksjon og film: Narrativ teori og analyse. Oslo: Universitetsforlaget, 1994.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Make believe in film and fiction: Visual vs. verbal storytelling. New York: Palgrave Macmillan, 2006.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Seeing fictions in film: The epistemology of movies. Oxford: Oxford University Press, 2011.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Narration in the Fiction Film"

1

Virvidaki, Katerina. "The Digressive: Quentin Tarantino’s Pulp Fiction." In Testing Coherence in Narrative Film, 147–80. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-62196-8_6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Dynel, Marta. "When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative." In Perspectives in Pragmatics, Philosophy & Psychology, 205–52. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56696-8_12.

Full text

Abstract:

AbstractThis article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television seriesHouse.In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene inStage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.

APA, Harvard, Vancouver, ISO, and other styles

3

Cheeseman, Matthew, and David Forrest. "The Narrative Nightclub." In Youth Subcultures in Fiction, Film and Other Media, 91–107. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73189-6_6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Fuchs, Anne. "Narrating Resistance to the Third Reich: Museum Discourse, Autobiography, Fiction and Film." In Phantoms of War in Contemporary German Literature, Films and Discourse, 109–60. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230589728_5.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Huber, Irmtraud. "Retrospective Narration." In Present Tense Narration in Contemporary Fiction, 39–54. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56213-5_4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Huber, Irmtraud. "Simultaneous Narration." In Present Tense Narration in Contemporary Fiction, 69–86. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56213-5_6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Lland, Mereiel, and Robin Nelson. "Narrative Fictions for Film and Television." In The Creative Writing Handbook, 201–44. London: Macmillan Education UK, 2000. http://dx.doi.org/10.1007/978-1-349-90813-4_8.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Huber, Irmtraud. "Narrative Deictic Narration." In Present Tense Narration in Contemporary Fiction, 23–37. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-56213-5_3.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Carroll, Noël. "Movies, Narration and the Emotions." In Philosophy and Film, 209–21. New York : Taylor & Francis, 2019. | Series: Routledge research in aesthetics ; 10: Routledge, 2019. http://dx.doi.org/10.4324/9780429435157-13.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

"Narration and Time /." In Narration in the Fiction Film, 88–112. Routledge, 2013. http://dx.doi.org/10.4324/9781315002163-15.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Narration in the Fiction Film"

1

Zhang, Yeyang. "Interaction, Transmedia Narrative Adaptation and Visual Communication: A Case Study of the Internet Fiction Adaptaed Film Better Days." In 2021 5th International Seminar on Education, Management and Social Sciences (ISEMSS 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210806.057.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Liu, Wenwen. "The Narration of “Forgetting” in Blanchot’s Fiction." In 7th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.367.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Qin, Bin. "Analysis of qUtopiaq Narration in Verne's science fiction." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.377.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Gilardi, Marco, Patrick Holroyd, Carly Brownbridge, Phil L. Watten, and Marianna Obrist. "Design Fiction Film-Making." In CHI'16: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2851581.2892280.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Wang, Jinyi, Oskar Juhlin, and Nathan Hughes. "Fashion Film as Design Fiction for Wearable Concepts." In CHI '17: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3027063.3049782.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Chang, Yuh-Shihng, and Yan-Hong Chen. "The Analysis of Animation Narration for Short Animation – The Short Film: CARN." In 2018 IEEE International Conference on Advanced Manufacturing (ICAM). IEEE, 2018. http://dx.doi.org/10.1109/amcon.2018.8614758.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Tianle, Huang. "Research on Innovation of Science Fiction Film with Intelligent Equipment." In 2019 11th International Conference on Measuring Technology and Mechatronics Automation (ICMTMA). IEEE, 2019. http://dx.doi.org/10.1109/icmtma.2019.00027.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Pamungkas, Nursyamsi Aji, Dwiky Juniarta, and Mohammad Ikhwan Rosyidi. "Challenge towards War as Grand-Narration Represented in Studio Ghibli’s Film Graves Of The Fireflies." In Proceedings of the UNNES International Conference on English Language Teaching, Literature, and Translation (ELTLT 2018). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/eltlt-18.2019.16.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Peldszus, Regina, Hilary Dalke, and Chris Welch. "Science Fiction Film as Design Scenario Exercise for Psychological Habitability: Production Designs 1955-2009." In 40th International Conference on Environmental Systems. Reston, Virigina: American Institute of Aeronautics and Astronautics, 2010. http://dx.doi.org/10.2514/6.2010-6109.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Narration in the Fiction Film"

1

Nieto Ferrando, J., A. del Rey Reguillo, and E. Afinoguenova. Narration and placement of tourist spaces in Spanish fiction cinema (1951-1977). Revista Latina de Comunicación Social, October 2015. http://dx.doi.org/10.4185/rlcs-2015-1061en.

Full text

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!