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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.
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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.
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Olsen, Jon-Arild. "Film, fiction et narration." Poétique 141, no. 1 (2005): 71. http://dx.doi.org/10.3917/poeti.141.0071.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Costa, Cynthia Beatrice. "An Ironic Overlay: The Use of Voice-Over Narration in The Age of Innocence, by Martin Scorsese." Adaptation 13, no. 2 (November 30, 2019): 161–75. http://dx.doi.org/10.1093/adaptation/apz022.
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Abstract Often praised for its cinematic artistry and faithfulness to the homonymous novel (Edith Wharton, 1920), The Age of Innocence (Martin Scorsese, 1993) is sometimes seen, however, as a reminder of the perils of voice-over narration in fiction films (Herman). By examining its use in relation to notions of novel adaptation (Whelehan; Leitch) and approaching irony in the film as a rhetorical device (Booth; Hutcheon; MacDowell), this article counterpoints the opinion (Travers; Cahir) that the voice-over narration might have decreased the dramatic potency of Scorsese’s work. In doing so, two main hypotheses emerged: (1) displaying a voice that purposefully invokes the novel’s author might have enhanced the degree of association between adaptation and source material, and (2) in deepening the viewers’ understanding of certain scenes by revealing inside information, the voice-over adds an ironic overlay to the film.
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Hansen, Nils Gunder. "Käte Hamburger og »digtningens logik«." K&K - Kultur og Klasse 34, no. 101 (April 2, 2006): 44–73. http://dx.doi.org/10.7146/kok.v34i101.22325.
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Käte Hamburger, and »the logic of literature«This paper examines the principal content and line of thought in Käte Hamburger’s classic study on the character of fiction, Die Logik der Dichtung, from 1957. Hamburger’s book is an ambitious and original attempt to relate the differences of literary genres and the reader’s phenomenological experience of these differences to linguistic circumstances and a theory of enunciation. The paper first develops the theory of enunciation that marks Hamburger’s linguistic point of departure and thereafter carefully examines her points on epic fiction (third-person narration), which stands as the cornerstone of her theory of fiction. Subsequently her »logical« definitions of lyric poetry, first-person narration, drama and film are summarized. The paper concludes that the work of Hamburger contains extremely valuable contributions to a theory of fiction, but several arguments of both a theoretical and a more pragmatic nature can be raised against it. Furthermore her theory of fiction seems to rest on premises inspired by existential ontology, and these premises remain somewhat blurred.
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Bellardi, Marco. "The cinematic mode in fiction." Frontiers of Narrative Studies 4, s1 (November 22, 2018): s24—s47. http://dx.doi.org/10.1515/fns-2018-0031.
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AbstractThis article focuses on the imitation of film form in cinematic novels and short stories on the level of narrative discourse and introduces the concept of ‘para-cinematic narrator’. The author compares the temporality expressed by verbal tenses in literature and the temporality expressed through film semiosis. The connection between film and literary fiction is explored in terms of foreground and background narrative style. It is argued that the articulation of narrative foreground and background – i. e. the “narrative relief” (Weinrich 1971) – in film form tends to favour the foreground style, and that such narrative relief is ‘flattened’ due to the “monstrative” quality (Gaudreault 2009) of the medium. This flattening is remediated in strongly cinematised fiction and conveyed through the use of verbal tenses. The imitation of montage and specific cinematic techniques is conceived, consequently, as a separate feature that can integrate into this remediated, para-cinematic temporality. Finally, the author recalls the concept of “mode” in genre theory (Fowler 2002), which describes a “distillation” of traits from one genre to another. With the category of cinematic mode the remediation of basic traits from film to literary fiction can be framed in terms of genre-related discourses.
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Ostrowski, Marek. "Narration as the production of sense using the example of a music video of the song All by Myself by Celine Dion." Acta Universitatis Lodziensis. Folia Litteraria Polonica 58, no. 3 (September 30, 2020): 95–111. http://dx.doi.org/10.18778/1505-9057.58.06.
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The narration in the music video to Celine Dion’s song All By Myself is a linearly organised construct or composition equipped with features of logicality, which organises specific linguistic or image-based material. It constructs a fiction based on the principles of dramatism. If one assumes that a music video can be analysed as a system which produces meaning, then the production occurs mainly within two dimensions. Firstly, as fiction, and secondly, as narration. The sequential editing adds significance to the entire film. The specific connection points of individual scenes influence the interpretation of the images by viewers – they extract the significance of a portion of the music video. Surely this phenomenon could be defined as a production of sense.
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Wong, Elaine. "Translingual Narration: Colonial and Postcolonial Taiwanese Fiction and Film by Bert Scruggs." Studies in the Novel 48, no. 4 (2016): 517–18. http://dx.doi.org/10.1353/sdn.2016.0054.
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Kleeman, Faye Yuan. "Translingual Narration: Colonial and Postcolonial Taiwanese Fiction and Film by Bert Scruggs." Journal of Japanese Studies 43, no. 2 (2017): 455–58. http://dx.doi.org/10.1353/jjs.2017.0056.
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Maciejewska, Marta. "O wielogatunkowości filmów pełnometrażowych Jana Švankmajera." Literatura i Kultura Popularna 24 (April 18, 2019): 11–24. http://dx.doi.org/10.19195/0867-7441.24.2.
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On genre-crossing in Jan Švankmajer’s feature filmsJan Švankmajer, a Czech film director and artist is known mostly for his short animated films. In 1994, however, a change in his filmmaking career took place — he devoted himself to working only on feature films. This change of medium is connected both to the length of these films, and using language, narration and genre features typical of feature films. What is important, Švankmajer does not adjust his artistic visions to all the directives of a certain genre. Rather, the director chooses some elements of these genres, and creates new, hybrid qualities. Genres that have the biggest impact on his feature films are: horror, comedy, and speculative fiction.
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Liao, Ping-hui. "Translingual Narration: Colonial and Postcolonial Taiwanese Fiction and Film by Bert Mittchell Scruggs." Harvard Journal of Asiatic Studies 77, no. 2 (2017): 570–75. http://dx.doi.org/10.1353/jas.2017.0045.
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Oktaviani, Danissa Dyah. "Konsep Fantasi dalam Film." REKAM 15, no. 2 (October 1, 2019): 125–36. http://dx.doi.org/10.24821/rekam.v15i2.3356.
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Fantasy films were born from the development of fiction films that have shown existence since the beginning of its history. Fantasy films have their own charm because they can penetrate time and space compared to other genres. Fiction films develop from their creators both in terms of story and cinematography because fiction films are at the center of the poles: real and abstract. Its greatest strength lies in its ability to integrate and combine with other genres without exception and can be broadly developed unlimitedly. That is because fantasy films contain elements with different characteristics from other films where if a fantasy film has one element in the making of the film then it has been said to be a fantasy film. The elements or components that are seen are derived from the narrative and cinematic elements of filmmaking which contain ideas of stories, characters, and settings in a film. These three elements are the forming components of fantasy films that are fictitious and imaginative. The idea of the story is not based on an imaginary reality, that is a fiction that makes no sense. In the case of fantasy films, filmmakers will compete to develop and present ideas that have not been thought of before, so the audience seems to be carried away in a new world outside of real life. Character characters in fantasy films are the imagination of creators in fictitious forms, such as: animal characters, extraterrestrials, monsters, robots, and non-physical characters such as ghosts, spirits and holograms. While the background elements in fantasy films have a character setting place and time imaginative events are unique in unknown times or dimensions, can be past, present, and future with the centuries formed by the creators.
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Hefner, Brooks E. "“Any Chance to Be Unrefined”: Film Narrative Modes in Anita Loos's Fiction." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 107–20. http://dx.doi.org/10.1632/pmla.2010.125.1.107.
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This essay examines the underappreciated work of the Hollywood scenarist and humor writer Anita Loos. In general, Loos is known separately to film scholars, as a prominent writer of silent films, and to historians of American culture, as an important twentieth‐century humorist. However, her film‐writing career and her work in the theory of film writing influenced the narrative structure and assumptions of her fiction. Through readings of Loos's three early novels, the essay demonstrates how the humor and complex cinematic structure of these texts depend on a stark text‐image divide that stems directly from her ideas about writing for silent film. Looking at Loos's fiction in the light of her intimate familiarity with the film industry provides new insight into dialogues about high and popular culture and into the engagement of modernism with cinema. (BEH)
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Carrillo Canán, Alberto J. L., May Zindel, and Víctor Gerardo Rivas López. "Las emociones cinematográficas en Bordwell." Nuevo Itinerario, no. 10 (November 16, 2015): 1. http://dx.doi.org/10.30972/nvt.010888.
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<p>Para explicar la experiencia del espectador la teoría cognitiva del cine narrativo (TCC) recurre a capacidades humanas de corte universal que funcionan independientemente del medio cinematográfico como tal y que, en particular, son las comunes en la experiencia de la literatura narrativa. El caso de las emociones ilustra esta situación. Sin embargo, en la obra original de la TCC, el famoso libro de David Bordwell <em>Narration in the Fiction Film </em>(1985), el tratamiento que se da ahí a las emociones muestra que Bordwell no solamente privilegia emociones de carácter literario sino en realidad un subgrupo muy especial de ellas, a saber, las emociones de tipo “cognitivo” correspondientes a la película de detectives. La importancia de este hecho radica en que muestra desde un ángulo especial, justamente, el de las emociones fílmicas, que la teoría general de Bordwell acerca del cine narrativo no tiene la generalidad con la que</p><p>Bordwell la presenta en ese libro sino que su poder explicativo se concentra en el caso del género detectivesco.</p>
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Vaage, Margrethe Bruun. "Self-Reflection." Nordicom Review 30, no. 2 (November 1, 2009): 159–78. http://dx.doi.org/10.1515/nor-2017-0157.
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Abstract Idiosyncratic responses are more strictly personal responses to fiction film that vary across individual spectators. In philosophy of film, idiosyncratic responses are often deemed inappropriate, unwarranted and unintended by the film. One type of idiosyncratic response is when empathy with a character triggers the spectator to reflect on his own real-life issues. Self-reflection can be triggered by egoistic drift, where the spectator starts imagining himself in the character’s shoes, by re-experiencing memories, or by unfamiliar experiences that draw the spectator’s attention. Film may facilitate self-reflection by slowing down narrative development and making the narrative indeterminate. Such scenes do make idiosyncratic responses, such as self-reflection, appropriate and intended. Fiction film is a safe context for the spectator to reflect on personal issues, as it also affords him with distancing techniques if the reflection becomes too painful or unwanted. The fictional context further encourages self-reflection in response to empathy, as the spectator is relieved from real-life moral obligations to help the other.
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Murray Smith. "Double Trouble: On Film, Fiction, and Narrative." StoryWorlds: A Journal of Narrative Studies 1, no. 1 (2009): 1–23. http://dx.doi.org/10.1353/stw.0.0014.
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Wilson, George. "Transparency and Twist in Narrative Fiction Film." Journal of Aesthetics and Art Criticism 64, no. 1 (January 2006): 81–95. http://dx.doi.org/10.1111/j.0021-8529.2006.00231.x.
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Horstmann, Jan. "Zeitraum und Raumzeit: Dimensionen zeitlicher und räumlicher Narration im Theater." Journal of Literary Theory 13, no. 2 (September 6, 2019): 185–205. http://dx.doi.org/10.1515/jlt-2019-0007.
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Abstract The positioning in space and time of performed narration in theater poses a specific challenge to classical narratological categories of structuralist descent (developed, for example, by Gérard Genette or Wolf Schmid, for the analysis of narrative fiction). Time is the phenomenon which connects narratology and theater studies: on the one hand, it provides the basis for nearly every definition of narrativity; on the other, it grounds a number of different methodologies for the analysis of theater stagings, as well as theories of performance – with their emphasis on transience, the ephemeral, and the unrepeatable, singular or transitory nature of the technically unreproducible art of theater (e. g. by Erika Fischer-Lichte). This turn towards temporality is also present in theories of postdramatic theater (by Hans-Thies Lehman) and performance art. Narrating always takes place in time; likewise, every performance is a handling of and an encounter with time. Furthermore, performed narration gains a concrete spatial setting by virtue of its location on a stage or comparable performance area, so that the spatial structures contained in this setting exist in relation to the temporal structures of the act of theatrical telling, as well as the content of what is told. Both temporal and spatial structures of theater stagings can be systematically described and analyzed with a narratological vocabulary. With references to Seymour Chatman, Käte Hamburger and Markus Kuhn among others, the contribution discusses how narratological parameters for the analysis of temporal and spatial relations can be productively expanded in relation to theater and performance analysis. For exemplary purposes, it refers to Dimiter Gotscheff’s staging of Peter Handke’s Immer noch Sturm (which premiered in 2011 at the Thalia Theater Hamburg in cooperation with the Salzburger Festspiele), focusing on its transmedial broadening of temporal categories like order, duration, and frequency, and subsequent, prior, or simultaneous narration. The broadening itself proves feasible since all categories of temporal narration can be applied to performative narration in the theater – at times even more fruitfully than in written language, as is the case, for example, with the concept of ›duration‹. The concept of ›time of narration‹ too can be productively applied to theater. Whilst a subsequent narration is frequently considered the standard case in written-language narratives on the one hand – a conclusion that is, however, only correct if the narrator figure and narrative stand in spatiotemporal relation to one another, i. e. if a homodiegetic narrator figure is present – it is commonly held that in scenic-performed narration, on the other hand, the telling and the told take place simultaneously. The present contribution argues against this interpretation, as it stems from a misguided understanding of the ›liveness‹ of performance. ›Liveness‹ refers only to the relationship between viewers and performers and their respective presence, but not to their temporal and spatial relationship to the told. Rather, the following will argue that the time of narration in theater (as well as in film) stays unmarked in most cases. It is possible, however, to stage subsequent, prior, or simultaneous narration, too. Immer noch Sturm is one example for a performed subsequent narration. For audiovisual narration, then, a special case of iterative narration (telling once what happened n times) can be identified, which is to tell a few times (n minus x) what happened n times. As an additional category for the analysis of narrative temporality in audiovisual narrative media, I propose what I venture to call ›synchronized narration‹, in order to describe the specificity of spatiotemporal relations in performance. In synchronized narration, two or more events (that happen at different places or times in the narrative world) are shown at the same time on stage. This synchronized performance of several events is only realizable within the audiovisual dimension of spatial narration and not in written-language based narration. Furthermore, for narrative space relations the categories ›space covering‹, ›space extending‹, and ›space reducing narration‹ are suggested in order to analyze the relationships between discourse space and story space(s). Discourse space emerges in the concrete physical space of the performance when narrativity is present. Within this discourse space any amount of story spaces (with any expansion) can emerge. However, whilst in time-extending narration the time of the telling is longer than the time of the told, in space-extending narration the told space is bigger than the space of the telling. This principle is analogously valid for time-reducing or space-reducing narration. The transmission and media-specific broadening of temporal and spatial narratological parameters reveals how time and space form a continuum and should thus be linked and discussed alongside one another in analytical approaches to narrative artifacts. The staging of Immer noch Sturm actualizes a metaleptic structure, in which temporal borders are systematically dissolved and the overstepping of spatial borders becomes an indicator for the merging of different temporal levels. Referring back to established narratological parameters and developing analogous conceptual tools for narrative space facilitates a comparative analysis both of specific narratives and of narrative media and thus not only offers a productive challenge of classical narratological parameters, but allows to investigate and construct a holistic – if culture-specific – overall view of narration.
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Wartenberg, Thomas. "Film as Argument." Film Studies 8, no. 1 (2006): 126–37. http://dx.doi.org/10.7227/fs.8.13.
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Film theorists and philosophers have both contended that narrative fiction films cannot present philosophical arguments. After canvassing a range of objections to this claim, this article defends the view that films are able to present philosophical thought experiments that can function as enthymemic arguments. An interpretation of Michel Gondry‘s Eternal Sunshine of the Spotless Mind (2004) is given in which the films criticism of the technology of memory erasure is just such a thought experiment, one that functions as a counter-example to utilitarianism as a theory for the justification of social practices.
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Borja Salguero, Darwin Gonzalo. "Las Imágenes recreadas en los documentales históricos. Un análisis de Con mi corazón en Yambo y La muerte de Jaime Roldós." Ñawi 2, no. 2 (July 31, 2018): 19. http://dx.doi.org/10.37785/1002202.
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Los documentales narran hechos reales. Sin embargo, en ocasiones utilizan imágenes recreadas para construir una narrativa. Algunas posturas discrepan en que el documental debe ajustarse totalmente a la realidad y no apoyarse en la ficción. Sin embargo, en los documentales históricos se utiliza este recurso de la ficción con el fin de contar acontecimientos relevantes de los que no se disponen de imágenes de archivo. En este trabajo se analizan las escenas recreadas en los documentales ecuatorianos Con mi corazón en Yambo (Restrepo, 2011) y La muerte de Jaime Roldós (Sarmiento y Rivera, 2013) y cómo éstas apoyan a la narración sin desentonar con la estética planteada en el resto del documental.
AbstractDocumentaries record real events, however, sometimes recreated images are used to construct the narrative of events. Some positions disagreethat the documentary should be fully adjusted to reality and not rely on fiction. In historical documentaries fictional resources are used in order to tell relevantfacts of which archival images are not available. This work analyzes the images recreated in ecuadorian documentaries Con mi corazón en Yambo and La muerte de Jaime Roldós and how these scenes enrich the narrative with out disentangling with the aesthetics raised in the rest of the documentary.
KeywordsFilm archives; film making; historical films; fiction; reality.
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Borja Salguero, Darwin Gonzalo. "Las Imágenes recreadas en los documentales históricos. Un análisis de Con mi corazón en Yambo y La muerte de Jaime Roldós." Ñawi 2, no. 2 (July 31, 2018): 19. http://dx.doi.org/10.37785/nw.v2n2.a2.
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Los documentales narran hechos reales. Sin embargo, en ocasiones utilizan imágenes recreadas para construir una narrativa. Algunas posturas discrepan en que el documental debe ajustarse totalmente a la realidad y no apoyarse en la ficción. Sin embargo, en los documentales históricos se utiliza este recurso de la ficción con el fin de contar acontecimientos relevantes de los que no se disponen de imágenes de archivo. En este trabajo se analizan las escenas recreadas en los documentales ecuatorianos Con mi corazón en Yambo (Restrepo, 2011) y La muerte de Jaime Roldós (Sarmiento y Rivera, 2013) y cómo éstas apoyan a la narración sin desentonar con la estética planteada en el resto del documental.
AbstractDocumentaries record real events, however, sometimes recreated images are used to construct the narrative of events. Some positions disagreethat the documentary should be fully adjusted to reality and not rely on fiction. In historical documentaries fictional resources are used in order to tell relevantfacts of which archival images are not available. This work analyzes the images recreated in ecuadorian documentaries Con mi corazón en Yambo and La muerte de Jaime Roldós and how these scenes enrich the narrative with out disentangling with the aesthetics raised in the rest of the documentary.
KeywordsFilm archives; film making; historical films; fiction; reality.
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Coplan, Amy. "Catching Characters Emotions: Emotional Contagion Responses to Narrative Fiction Film." Film Studies 8, no. 1 (2006): 26–38. http://dx.doi.org/10.7227/fs.8.5.
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In this paper, I examine the role of emotional contagion in our affective engagement with narrative fiction film, focusing in particular on how spectator responses based on emotional contagion differ from those based on more sophisticated emotional processes. I begin by explaining emotional contagion and the processes involved in it. Next, I consider how film elicits emotional contagion. I then argue that emotional contagion responses are unique and should be clearly distinguished from responses based on other emotional processes, such as empathy. Finally, I explain why contagion responses are a significant feature of spectators engagement with narrative fiction film.
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Önen, Ufuk. "The Voice as a Narrative Element in Documentary Films." Resonance 2, no. 1 (2021): 6–18. http://dx.doi.org/10.1525/res.2021.2.1.6.
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Modern documentary filmmakers use fiction-influenced narrative styles that blur the boundaries between fact and fiction, stretching the limits and rules of the genre set by what is referred to as classic or expository documentary. Another major change in the documentary form and narrative style is the inclusion of the filmmaker in the film. As a result of filmmakers starring in their own films, interacting with the subjects, and narrating the story themselves, documentaries have become more personality driven. In these modern methods, the voices of the narrators and/or the filmmakers carry a significant importance as narrative elements. Taking five music-related documentary films into account—Lot 63, Grave C (Sam Green); Crossing the Bridge: The Sound of Istanbul (Fatih Akin); Metal: A Headbanger's Journey (Sam Dunn, Scot McFadyen, and Jessica Joywise); The Decline of Western Civilization Part II: Metal Years (Penelope Spheeris); and Searching for Sugar Man (Malik Bendjelloul)—this paper analyzes how the voices of the narrators and/or the filmmakers are used as narrative elements, and what effects these voices have on the narrative styles and the modes of these documentaries.
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Malmaceda, Luise. "'Bacurau': ficção 'weird' e estética aceleracionista de expurgo colonial | 'Bacurau': weird fiction and accelerationist aesthetics of colonial purge." Revista PHILIA | Filosofia, Literatura & Arte 3, no. 1 (June 2, 2021): 194–218. http://dx.doi.org/10.22456/2596-0911.112892.
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ResumoNeste artigo, são analisados filme e roteiro de Bacurau (2019), dirigido por Kléber Mendonça Filho e Juliano Dornelles. Compreende-se a obra sob a perspectiva da ficção weird pela conjunção entre os elementos de futuridade da narrativa e os conflitos sociais do interior do Brasil, circunscritos a uma realidade histórica. Misturando gêneros cinematográficos em um filme que vai do cangaço ao gore, Bacurau nos coloca frente a uma distopia sobre a proliferação de tecnologias de vigilância e controle e, sobretudo, sobre a proliferação de sistemas políticos de morte.Palavras-chave: Bacurau. Ficção weird. Aceleracionismo. Desterritorialidade. Necropolítica. Estudos decoloniais. AbstractIn this article I analyze the film and the script of Bacurau (2019), directed by Kléber Mendonça Filho and Juliano Dornelles. The work is understood from the perspective of weird fiction for the conjunction between the elements of futurity of the narrative and the social conflicts of Brazil’s countryside, anchored in a historical reality. Mixing cinematographic genres in a film that goes from Cangaço Cinema to Gore, Bacurau confronts us with a dystopia about the proliferation of surveillance and control technologies and, specially, about the proliferation of political systems of death.Keywords: Bacurau. Weird Fiction. Accelerationism. Deterritorialization. Necropolitics. Decolonial Studies.
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Dandekar, Dr Niteen Vasant. "The Semiotics of the Visuals, Songs, Dances and Music: Analysing Aesthetics of Indian Cinema with Reference to 3 Idiots, An Adaptation of Chetan Bhagat’s Fiction Five Point Someone." Psychology and Education Journal 58, no. 2 (February 10, 2021): 5579–90. http://dx.doi.org/10.17762/pae.v58i2.2977.
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The present paper is in the form of a humble attempt, on the part of the researcher, to explore the possibility of analyzing the Aesthetics of Bollywood Cinema by looking at the selected film adaptation with Semiotic perspective. After defining the terms ‘Semiotics’, and ‘Mise-en-Scene Analysis’, he aims at deciphering Aesthetics of Indian Cinema. Here the terms ‘visual design’, ‘signs and codes’, ‘symbols’, ‘metaphors’, ‘discourse-words and phrases’ and other compositional elements in the film are discussed elaborately. Great care has been taken, here, to avoid the film jargon. He refers to the established conventions as socio-cultural norms prevalent in the film industry in India. This is followed by the in-depth analysis of the selected film. Here the researcher takes into consideration the use of images, video intake of the song, the linguistic connotations of the song, melody element, the get up of the character, dresses and costumes, musical scores, and their linkage with the narration in the film
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Coppola, Antoine. "Epistolary Enunciation in Contemporary Fiction Films in Asia: A Typological Essay." Área Abierta 19, no. 3 (November 4, 2019): 401–17. http://dx.doi.org/10.5209/arab.63968.
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In Asia, the socio-linguistic history has sometimes made blossom the epistolary enunciation on the screen and has sometimes made it whiter. Melodramas developed the oralised destiny-letters as hinges of dramatic narration. Even a cinema under communist regime like that of North Korea maintains this model but by diverting it to the profit of his supreme epistolarian and leader. Starting from the 1990s, filmmakers like Shunji Iwai and Jeong Jae-eun screen the letters by assigning them a veridiction power in conflict: social/persona. Wong Kar-wai extends the epistolary enunciation to the whole narrative structure of the voices over of his films as memory interiorities. Finally, the transition to digital and virtual communication spaces has led filmmakers like Hideo Nakata and Jia Zhangke to underline the hauntological distance, spectral in Derrida’s sense; distance linked to the power of invisible big communicators which become inevitable thirds at the heart of all exchanges.
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Schultz, Corey Kai Nelson. "Memories in Performance: Commemoration and the Commemorative Experience in Jia Zhangke's24 City." Film-Philosophy 20, no. 2-3 (October 2016): 265–82. http://dx.doi.org/10.3366/film.2016.0015.
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In this article, I examine how 24 City (2008) commemorates the factory and its workers through combining memory, the act of remembering, and its recitation, thus creating ‘memories in performance’ that construct an emotional history of this group. I use a Chinese word for commemoration, jinian ([Formula: see text]) to structure this paper into the three components of memory ([Formula: see text]), the act of remembering ([Formula: see text]), and mindful thought and recitation ([Formula: see text]), all of which combine to commemorate the factory and the sacrifice of the worker class. I examine how both the real and fictional interviews in the film create the same emotional meaning through producing emotions that are ‘real’ regardless whether their source is real or fake, thus emphasizing that memory is not only about history and ‘fact,’ but also, more importantly, about the emotion it conveys. I consider how the memories are affective in that they present a past that is being remembered, performed and retold in the present, thus enabling both the real and fictional memories to become ‘real’ in their narration. I analyze how the lived and fictive memories and their remembrance produces a filmic space to commemorate the factory and the workers' sacrifices, and argue that this produces an intimacy with the viewer, in that it presents the workers' history as personal stories being remembered, recalled, and felt again, not sterile facts being repeated. I conclude by considering how this film is indicative of a larger commemorative turn, and how it offers not only a ‘sight’ of commemoration (as an example of Chinese visual culture), but also a site of commemoration – a commemorative object as well as a commemorative experience.
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Thompson, Jacqueline M., Ben Teasdale, Sophie Duncan, Evert van Emde Boas, Felix Budelmann, Laurie Maguire, and Robin I. M. Dunbar. "Individual Differences in Transportation into Narrative Drama." Review of General Psychology 22, no. 2 (June 2018): 210–19. http://dx.doi.org/10.1037/gpr0000130.
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Transportation, the experience of feeling “transported” into a fictional world, differs widely across individuals. We examined transportation in 3 studies. Study 1 investigated links between individual differences in various measures of audience response, whereas the latter 2 studies examined links between trait measures (independent variables) and audience response (dependent variables). Study 1 found that individual differences in self-reported transportation to a film explained variation in virtually all other dependent measures, such as identification with characters, emotion, and attribution of blame for the protagonist's struggles. Group bonding after watching the film was nonlinearly related to endorphin response (as measured by pain threshold), and transportation related to these variables as well (although more weakly). Study 2 found that individual differences in celebrity worship predicted transportation, as well as tendency to identify with the characters and approve of their behavior. Study 3 demonstrated that individual differences in trait measures of sensation seeking and empathy independently predicted viewers’ transportation in 2 very different film genres. Transportation measures for both films were highly correlated, suggesting that tendency to be transported may be less genre-specific than other dependent measures. Altogether, these results illustrate the usefulness of individual differences approaches in the psychological study of fiction.
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CASADO DA ROCHA, ANTONIO. "Narrative Autonomy." Cambridge Quarterly of Healthcare Ethics 23, no. 2 (February 12, 2014): 200–208. http://dx.doi.org/10.1017/s096318011300073x.
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This section welcomes submissions addressing literature as a means to explore ethical issues arising in healthcare. “Literature” will be understood broadly, including fiction and creative nonfiction, illness narratives, drama, and poetry; film studies might be considered if the films are adaptations from a literary work. Topics include in-depth analysis of literary works as well as theoretical contributions, discussions, and commentary about narrative approaches to disease and medicine, the way literature shapes the relationship between patients and healthcare professionals, the role of speculative fiction as a testing ground for future scenarios in healthcare, and so on. Articles discussing the uses of literature for bioethics education and outreach will be particularly appreciated. Research on literature not originally written in English will be considered as long as it has also been published in translation. Submissions should include an abstract and should conform to the CQ Guidelines for Contributors. To submit an article or discuss a suitable topic, write to Antonio Casado da Rocha at antonio.casado@ehu.es.
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Axelson, Tomas. "Vernacular Meaning Making." Nordicom Review 36, no. 2 (October 1, 2015): 143–56. http://dx.doi.org/10.1515/nor-2015-0022.
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Abstract The outcome of an audience study supports theories stating that stories are a primary means by which we make sense of our experiences over time. Empirical examples of narrative impact are presented in which specific fiction film scenes condense spectators’ lives, identities, and beliefs. One conclusion is that spectators test the emotional realism of the narrative for greater significance, connecting diegetic fiction experiences with their extra-diegetic world in their quest for meaning, self and identity. The ‘banal’ notion of the mediatization of religion theory is questioned as unsatisfactory in the theoretical context of individualized meaning-making processes. As a semantically negatively charged concept, it is problematic when analyzing empirical examples of spectators’ use of fictional narratives, especially when trying to characterize the idiosyncratic and complex interplay between spectators’ fiction emotions and their testing of mediated narratives in an exercise to find moral significance in extra-filmic life. Instead, vernacular meaning-making is proposed.
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Mather, Philippe. "Intercultural sensitivity in Orientalist cinema." East Asian Journal of Popular Culture 6, no. 2 (August 1, 2020): 177–93. http://dx.doi.org/10.1386/eapc_00024_1.
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Edward Said’s dogmas of Orientalism are a succinct summary of western perceptions of the East, which reveal an essentially racist discourse that also speaks to the westerner’s self-perception. While there is a tendency in fiction film to polarize attitudes as either friendly or hostile, for reasons of narrative economy and to enhance dramatic conflict, this article argues that it is possible to measure the behaviour of fictional characters on a continuum describing intercultural sensitivity to assess how these characters appear to respond to the idea of cultural differences, broadly ranging from the most ethnocentric views to more ethnorelative ones. Since the intercultural development continuum (IDC) is structured as five developmental stages, it provides a finer psychological template than Orientalist binaries, offering a more nuanced view of character motivations and attitudes. The IDC scale is ideally suited to narrative analysis as it usefully describes successive stages that characters may exhibit throughout the course of a story depicting intercultural exchanges. The IDC allows the analyst to gauge the degree of conformance of any given film to Said’s aforementioned dogmas, particularly those films that either express an ambivalent attitude or appear superficially more enlightened or accommodating of difference. This model will be illustrated with a number of case studies selected from a filmography focusing on western representations of Singapore in film and television, from 1940 to 2015, including titles such as the Bette Davis plantation melodrama The Letter, the science fiction thriller Hitman: Agent 47 and the Australian period TV series Serangoon Road.
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Langkjær, Birger. "Making fictions sound real - On film sound, perceptual realism and genre." MedieKultur: Journal of media and communication research 26, no. 48 (May 17, 2010): 13. http://dx.doi.org/10.7146/mediekultur.v26i48.2115.
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This article examines the role that sound plays in making fictions perceptually real to film audiences, whether these fictions are realist or non-realist in content and narrative form. I will argue that some aspects of film sound practices and the kind of experiences they trigger are related to basic rules of human perception, whereas others are more properly explained in relation to how aesthetic devices, including sound, are used to characterise the fiction and thereby make it perceptually real to its audience. Finally, I will argue that not all genres can be defined by a simple taxonomy of sounds. Apart from an account of the kinds of sounds that typically appear in a specific genre, a genre analysis of sound may also benefit from a functionalist approach that focuses on how sounds can make both realist and non-realist aspects of genres sound real to audiences.
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Lestari, Emilika Budi. "KONSEP NARATIF DALAM FILM DOKUMENTER PEKAK KUKURUYUK." Jurnal Nawala Visual 1, no. 1 (May 31, 2019): 9–17. http://dx.doi.org/10.35886/nawalavisual.v1i1.3.
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Documentary movie that present reality in various ways and are made for various purposes. Social, political and cultural life mostly inspiresthe documentary. The concept of documentary movie is to build a storyline based on the reality. Documentary movie are made according to certain versions based on the reality. Various techniques can be used to convey information and convince the audience about the situation and conditions in the movie. Unlike fiction films that have a clear narrative structure, documentary films do not have a narrative structure. The main key to a documentary is the presentation of facts. Documentary films relate to real people, figures, events and locations. The style of storytelling in documentaries is non-narrative because documentaries do not contain the composition of the stories in them. In the documentary film Pekak Kukuruyuk, it can be seen that the narrative concept that was built from this film is the concept of realism (real), which is to build a storyline based on reality. Where this concept is opposite to experimental films that have the concept of formalism (abstract). This film was made through a direct recording method when the event actually took place and inserted several reconstructions and interviews in it.
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Bérubé, Michael. "Disability and Narrative." PMLA/Publications of the Modern Language Association of America 120, no. 2 (March 2005): 568–76. http://dx.doi.org/10.1632/s0030812900167914.
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After a decade of working in disability studies, I still find myself surprised by the presence of disability in narratives I had never considered to be “about” disability—in animated films from Dumbo to Finding Nemo; in literary texts from Huckleberry Finn to Joan Didion's Play It As It Lays; and, most curiously, even in the world of science fiction and superheroes, a world that turns out to be populated by blind Daredevils, mutant supercrips, and posthuman cyborgs of all kinds. Indeed, I now consider it plausible that the genre of science fiction is as obsessed with disability as it is with space travel and alien contact. Sometimes disability is simply underrecognized in familiar sci-fi narratives: ask Philip K. Dick fans about the importance of disability in Do Androids Dream of Electric Sheep? and you'll probably get blank stares. But the Voigt-Kampff empathy test by which the authorities distinguish humans from androids was, Dick tells us, actually developed after World War Terminus to identify “specials,” people neurologically damaged by radioactive fallout, so that the state could prevent them from reproducing. That aspect of the novel's complication of the human-android distinction is lost in the film Blade Runner, but the film does give us an engineer with a disability that involves premature aging, which links him intimately to the androids who have life spans of only four years.
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Fuery, Kelli. "Empty Time as Traumatic Duration: Towards a Cinematic Aevum." Film-Philosophy 24, no. 2 (June 2020): 204–21. http://dx.doi.org/10.3366/film.2020.0139.
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Frank Kermode uses the term aevum to question the links between origin, order, and time, associating experience with spatial form. Without end or beginning, aevum identifies an intersubjective order of time where we participate in the “relation between the fictions by which we order our world and the increasing complexity of what we take to be the ‘real’ history of that world”; being “in-between” time is a primary quality of the aevum. Regarding cinema, aevum identifies this third duration as emotional experience, occuring as traumatic time. It facilitates thinking beyond lived temporal experience of everyday life to a philosophy of experience that accounts for alternative sensoria of time, similar to the traumatic encounter. The cinematic aevum is equally not of the material, corporeal world; concurrently associating human reality with the myths of the human condition. To say that a cinematic aevum exists following traumatic scenes, is to specify a visual “time-fiction” in film, to recognise a spatial form that belongs neither to the finite time of the film's narrative, or of the “eternal” time outside the film's diegesis, but participates in the order (and linking) of both. Wilfred Bion's psychoanalytic works are used to discuss the traumatic symptom of “empty time”: the inability to recollect, to make links between memory and experience, demonstrating a version of empty time that works as an external violence to spectator perception. Bion's theories offer fresh psychoanalytic perspective on trauma and its relationship to time by challenging classical ways of thinking about inner and outer perception.
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Simmons, Laurence. "Erewhon: Filming nowhere." Pacific Journalism Review 21, no. 2 (October 31, 2015): 33. http://dx.doi.org/10.24135/pjr.v21i2.114.
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Photographer Gavin Hipkins’ first feature film draws upon Samuel Butler’s anonymously published utopian satire Erewhon: Or, Over the Range (1872). It pairs a stream of evocative images with a voiceover narration from Butler’s text. In particular, it is in his exploration of Butler’s critique of the coming dominance of the machine in a post-industrial society that Hipkins’ film speaks to postcolonial New Zealand. Paradoxically, however, Hipkins employs the words of Butler’s text to free himself from the tyranny of narration and produce a film of continual interruptions, juxtapositions and breaks in perspective and mood. One moment we are asked to respond to the sublime grandeur of the New Zealand bush or mountainscape, the next to the banality of a rusted dripping pipe or a collection of car carcasses. Hipkins’ images acquire their power not because of their inherent qualities, but because they prove themselves to be transformable, that is, because they can enter into relations of composition with other images. Through its montage, Hipkins’ ‘cinema of thinking’ successfully combines the documentary nature of film—its recording—with its symbolic, evocative, ruminative capabilities, thus exemplifying Jean-Luc Godard’s dictum that all good fictions are documentaries and all good documentaries are fictions.
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KOZLOV, EVGENY V. "SCREEN ATTRACTIONS: BETWEEN VISUAL AND NARRATIVE." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 11–28. http://dx.doi.org/10.30628/1994-9529-2021-17.1-11-28.
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Based on a number of provisions of aesthetics and film semiotics, the article interprets the structural features of the attractions of screen civilization and analyzes their varieties in the context of serial art products that reveal their structural and receptive specifics. The attraction has its deep reflection in the mental structure. The attraction appears as an external manifestation of the phantasm. The attraction, like phantasm, resonates on the basis of the difference of several episodes with which it is connected by the relation of causality. Art “produces the phantasm theatrically” (according to G. Deleuze), bringing the quasi-event from the depths of the psychic to the surface, into the symbolic space of artistic fiction. Phantasm is an internal resonance of the two series, while an attraction appears as an external manifestation and effect of the difference between the causal series (visual/narrative; rational/emotional; singular/universal, fictional/real, presence/absence). Based on the disjunctive synthesis of these series, an attraction occurs in films and comic books on foot of the ultimate (limiting the space for fiction) and the transcendent, going beyond the screen limitations, canceling the conventional barriers for fiction. A locomotive rushing into the auditorium from the cinema screen is an example of an attraction that is considered in the screen civilization as an attractive and sensational element of an artistic program. Such a cinema attraction is addressed almost exclusively to the eye, and for its success the resonance is important, which is provided by the predominance of the visual over the narrative. The juxtaposition, going back to André Gaudreault’s semiotics, between a cinematic attraction (in which the visual component is almost unchallenged) and НАУКА ТЕЛЕВИДЕНИЯ № 17.1, 2021 14 THE ART AND SCIENCE OF TELEVISION that of films (filmique), in which the narrative might have a chance for revenge, reveals an interesting response in the culture of the modern series. A film attraction appears as a result of the constructive interaction of visual perceptions and creative interpretations of the plot, shaped by the recipients themselves. It is assumed that a cliffhanger, which is often used in the series, can be such an attraction. In the modern storytelling, the art of creating and maintaining intrigue is endowed with fundamental importance. The attraction of the series is aimed at the continuation, at the teaser of the next episode, which should look as attractive as possible and seem to be an artistic product absolutely mandatory for consumption. The techniques and practices developed for these purposes become systematically updated in the media space, which nowadays is literally “infected with cliffhangers”.
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Horstmann, Jan. "Narrative representation and fictionality in performative media." Frontiers of Narrative Studies 4, s1 (November 22, 2018): s5—s23. http://dx.doi.org/10.1515/fns-2018-0030.
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AbstractThe transmedial discussion in this article shows that the terms narrative mediation and representation should be carefully distinguished from fiction or fictionality. The constitutive use of ‘real’ (or factual) artifacts in performative media (i. e. media which present embodied events, such as theater or film) provides a good example for the necessity of this distinction. Frequently these artifacts serve the purpose of a fictional discourse and certain definitions of fictionality (cf. Walton 1990) can be said to be fulfilled. However, a real-world artifact can by no means become itself fictive, but is rather used to represent a fictive entity. By focusing on representation and mediation instead, it becomes possible to compare theater with other performative media in terms of narrative representation: even though it is sense-physiologically unmediated, the functions of narrative mediation (i. e. selecting, ordering, presenting, commenting; cf. e. g. Chatman 1990) apply. The article establishes a dynamic system of representation that can be used for the analysis of all kinds of multichannel narrative media and thus rests the ongoing scholarly discussions of transmedial narrative representation on a much sounder theoretical basis. It distinguishes representation clearly from fictionality, and highlights the significance of theater in this discussion.
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de Roo, Ludo. "Elemental Imagination and Film Experience." Projections 13, no. 2 (June 1, 2019): 58–79. http://dx.doi.org/10.3167/proj.2019.130204.
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In an age of ecological disasters and increasing environmental crisis, the experience of any cinematic fiction has an intrinsic ethical potential to reorient the spectator’s awareness of the ecological environment. The main argument is that the spectator’s sensory-affective and emphatically involving experience of cinema is essentially rooted in what I call “elemental imagination.” This is to say, first, that the spectator becomes phenomenologically immersed with the projected filmworld by a cinematic expression of the elemental world, and second, much like there is no filmworld without landscapes, the foundational aspect of elements are revealed as preceding and sustaining the narrative and symbolic layers of film experience. While suggesting the existential-ethical potential of this fundamental process of film experience, the second aim of this article is to show that this form of elemental imagination complements more mainstream “environmentalist” films, such as climate change documentaries and blockbuster apocalyptic genre films.
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Gómez, Leila. "Narrative of Origin and Utopia in Lucrecia Martel’s Nueva Argirópolis." English Language Notes 58, no. 1 (April 1, 2020): 103–10. http://dx.doi.org/10.1215/00138282-8237443.
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Abstract This article offers a reading of Lucrecia Martel’s film short Nueva Argirópolis (2010) in light of Domingo F. Sarmiento’s treatise Argirópolis (1850). Both Sarmiento’s text and Martel’s film address the question of landownership, river navigation, and the inequal distribution of territorial and national wealth. Nueva Argirópolis is one part of a cinematographic project that brought together twenty-five directors for the occasion of the bicentennial of the Argentine revolution. Martel’s eight-minute story takes as its point of departure the ideas of Sarmiento, one of the founders of the nation: through her fiction, she tells how original Argentine peoples adopted Sarmiento’s proposal. In speaking of her inspiration for the film, Martel refers to both her work and Sarmiento’s as bold texts that fall within the genre of science fiction. The present essay considers the reasons for the audacity of the proposals in both texts and, at the same time, why both were unsuccessful.
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Lloyd, Matt. "'He makes a fool out of you': The shift in social structure in The Cage." Short Film Studies 3, no. 1 (August 9, 2012): 101–4. http://dx.doi.org/10.1386/sfs.3.1.101_1.
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While adopting a theme and story that are common in short fiction film-making – a child's encounter with suffering and mortality – The Cage nonetheless confounds narrative expectation. Adrian Sitaru challenges short film conventions through his choice of character focus and naturalistic style, expressing subtle shifts in family dynamics.
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Kustanto, Lilik, Rr Ari Prasetyowati, and Ozhara Aisyia. "Konstruksi Keistimewaan Yogyakarta dalam Narasi Film-Film Kompetisi Produksi Dinas Kebudayaan Yogyakarta Tahun 2016-2017." REKAM 15, no. 1 (September 26, 2019): 49–59. http://dx.doi.org/10.24821/rekam.v15i1.3185.
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ABSTRAKSejak Undang-undang Keistimewaan disahkan, Dinas Kebudayaan Daerah Istimewa Yogyakarta (DIY) konsisten menggelar program kompetisi Pendanaan Pembuatan Film. Dalam genre fiksi dan dokumenter, film-film terpilih yang difasilitasi telah menafsirkan dinamika kebudayaan di DIY dengan cukup beragam. Asumsinya, film-film tersebut setidaknya mampu mewujudkan tata nilai budaya masyarakat yang berbasis pada nilai-nilai luhur budaya lokal. Namun demikian, beragamnya perspektif dan pendekatan yang digunakan sineas dalam produksi film kompetisi tentunya membangun realita baru akan narasi keistimewaan Yogyakarta. Penelitian ini akan memeriksa bagaimana konstruksi keistimewaan DIY dibagun lewat narasi film-film pemenang kompetisi pada dua tahun belakangan. Proses penelitian saat ini telah mencapai pada tahapan analisis struktur luar narasi kedua film kompetisi produksi Danais 2016-2017. Adanya ketidaksesuaian struktur narasi film-film dengan gagasan yang digunakan untuk menemukan struktur luar menurut Todorov justru menjadi tantangan besar dalam penelitian ini. Ketidaksesuaian ini sekaligus menjadi suatu penemuan yang penting saat keseluruhan proses analisis terselesaikan Since the Privileges Law has been authorized, the Government Cultural Office of the Special Region of Yogyakarta has been consistently holding a film-making funding program. In the genres of fiction and documentary, the facilitated selected films have climbed the Cultural Revolution in the Special Region of Yogyakarta with quite a variety. The assumption is that those films are at least able to realize the cultural values of the society based on the noble values of the local culture. However, the variety of perspectives and approaches used by filmmakers in the production of competitive films, certainly builds a new reality of the Yogyakarta's distinctive narrative. This research will examine how the construction of the privileges of the Special Region of Yogyakarta is built through the narrative of the winning films of the competition in the past two years. The current research process has reached the stage of analysis of the outside narrative structure of the two 2016-2017 Danais production competition films. According to Todorov, the inconsistency in the narrative structure of the films, with the ideas which are used to find the outward structures, has become a major challenge in this research. This incompatibility is also an important discovery when the entire analysis process is resolved.
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Singh, Dr M. S. Xavier Pradheep. "Dissecting Graphic Fiction: A Study of the Hybrid Form of the 21st Century." Think India 22, no. 3 (September 19, 2019): 249–56. http://dx.doi.org/10.26643/think-india.v22i3.8189.
Full textAbstract:
“Comic art does possess the potential for the most serious and sophisticated literary and artistic expression, and we can only hope that future artists will bring the art form to full fruition” (176), prophesied Lawrence Abbott in 1986. It became true when Graphic Fiction emerged as a hybrid genre and entered into the academia. It is a meaningful interaction of words, image panels, and typography. They have a long history dating back to cave paintings and Egyptian hieroglyphics. Though there are “more genetic similarities between the comic book and the graphic novel” (Sardesai 28), Graphic Novel has a unique approach to plot, narration, and theme. This new genre combines visual and verbal rhetoric and thus offers a hybrid form of reading. The use of blank spaces between image panels provides “imaginative interactivity” (Tabachnick 25), as the reader tends to fill in these blanks, imagining a good deal of action. Text boxes, speech bubbles, and thought bubbles streamline the narration and create a sense of interactivity in a reader. This paper records the history of Graphic Novel and makes an anatomy of it. It also enlists recent Graphic novels and major techniques employed in them.