Journal articles: 'Visual narration'

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Ruthrof, Horst. "Narration/narrative/narration." Continuum 1, no. 1 (January 1988): 175–91. http://dx.doi.org/10.1080/10304318809359329.

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Korkmaz, Selma. "A Comparison on illustration of story and narration of illustration." SHS Web of Conferences 48 (2018): 01030. http://dx.doi.org/10.1051/shsconf/20184801030.

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The purpose of Turkish classes is to equip students with the ability of comprehension and narration. Everyone knows that stories covered in Turkish courses are offered with visuals, meaning pictures, so that they could be more easily understood. Illustration of a read story and narration of a picture shown can help explore the extent to which the topic is comprehended and how it is narrated, meaning visual presentation and visual reading skills. The purpose of this study is to compare whether attention is paid to several elements such as event, time, place, persons, language and narration/visual language during the illustration of a story and narration of a picture shown, meaning whether a connection is established between the narrated story and drawn picture as well as between the shown picture and the narrated story. Study group consists of 35 pre-service teachers who are junior students at Turkish language teaching department of Atatürk Education Faculty at Near East University. Document analysis, which is a qualitative research method, was employed and several stories and pictures were used as data collection tools. Descriptive analysis, percentage and frequency were used in the analysis of data. Based on the obtained findings, we can claim that pre-service teachers are more skilled in narration of picture compared to illustration of stories, meaning that their visual reading skills are superior to their visual presentation skills.

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Zolna, Jesse S. "The Effects of Study Time and Presentation Modality on Learning." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 51, no. 7 (October 2007): 512–15. http://dx.doi.org/10.1177/154193120705100701.

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The modality principle suggests that presenting words via audio-narration rather than visual-text can improve learning (Mayer, 2001). However, the use of narrations when verbal materials are lengthy can have cognitive costs, and learning from text can be improved when materials are self-paced or provide ample study time. Therefore, there might be circumstances under which using text would actually be better than using narration. In this experiment we compare learning from diagrams that accompany text or narration; we manipulated available study time while also providing learners control over the pace of presentation. The results show that under these conditions, using narration instead of text does not improve learning. Some additional study time improves learning from both narration and text. However, even greater amounts of study time improve learning from narrations but not text. Implications about when to apply the modality principle to multimedia instructional design are discussed.

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Cheremisinova, Larisa I. "Narrative Strategy in Afanasy Fet’s Story The Golts Family." Tekst. Kniga. Knigoizdanie, no. 24 (2020): 5–20. http://dx.doi.org/10.17223/23062061/24/1.

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In the modern research on Afanasy Fet, questions of “prosaic” Fet studies remain poorly investigated: the poetics of Fet’s prose, the specifics of its narrative, the genre features of the works, the comparative analysis of Fet’s narrative practice and contemporary writers’ works. Examination of ways of implementing the narrative strategy in the story The Golts Family requires clarification of the genre features of this work since the principles of narration largely depend on the genre. The volume of this text, the coverage of the events depicted in it, the presence of several plot lines, the abundance of static narrative elements, the constructive role of the narrator, the organization of the narration mainly by descriptions and arguments rather than by event series make The Golts Family a story. The differences of subjects and types of narrative divide the story into two parts. The first part (Chapters 1–3) presents an objective narrative on behalf of an “omniscient” narrator. Starting from Chapter 4, the narrative type changes to “Inarration”, which continues until the very end of the story. A special lyrical atmosphere, an intimate tone, the warmth of memories cocoon the “cuirassier” pages of the story. Fet was faced with a difficult creative task: to depict the fate of the vet Golts and his family against the background of documentary episodes of the life of the cuirassier regiment. The search for the solution entailed a special way of implementing a narrative strategy, in particular, a change in the types of narration. The “interchangeability” of the storyteller and the narrator, changes in the perspectives of the image, in the points of view, and, at the same time, in the types of narration are artistically justified in Fet’s story for they fulfill a certain super-task. The “mediation” of the narrator allows the reader to enter the depicted world and look at the events through the eyes of the characters. In The Golts Family, views “from the outside” and “from the inside”, subjective and objective narratives intertwined. This allowed the author to capture a broad picture of life, to create a multidimensional live image that combines various character traits and possesses individuality and integrity. The author shows Golts’ tragic fate as if “from the outside”, on behalf of the narrator. The appearance of the narrator—the regimental adjutant—changes the point of view in the story and gives a different perspective of the image. The reader now perceives the world of artwork through the character’s consciousness. The position of narrating endows the story with lyricism and cordiality, “revives” it “from the inside”. Thus, the author unwittingly balances the internal and external positions, binds together the whole story.

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Branigan, Edward, and Seymour Chatman. "Narration Issues." Film Quarterly 41, no. 1 (1987): 63–65. http://dx.doi.org/10.2307/1212332.

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Branigan, Edward, and Seymour Chatman. "Narration Issues." Film Quarterly 41, no. 1 (October 1987): 63–65. http://dx.doi.org/10.1525/fq.1987.41.1.04a00110.

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Ghinelli, Paola. "Images et narration dans l’œuvre de Dany Laferrière." Quêtes littéraires, no. 5 (December 30, 2015): 181–89. http://dx.doi.org/10.31743/ql.251.

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Narrative developments often stem from images in Dany Laferrière’s work. On the other hand, some of the narration in Laferrière’s fiction and nonfiction is synthesized in narrative snapshots that resemble descriptions. Temporal dimension plays a key role in this constant shift between image and imagination, because, as Didi-Huberman has shown, images carry an anachronistic element. This element also allows Laferrière and his narrators to use mainly simple present tense, even when the content of the narration is set in the past. Nevertheless, images are never explained or rationalized in Laferrière’s work, which keeps the mystery and ambiguity that characterize visual representations.

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Batori, Anna. "The symbiosis of images and non-diegetic sound in Lynne Ramsay’s Brigitte." Short Film Studies 11, no. 2 (September 1, 2021): 161–66. http://dx.doi.org/10.1386/sfs_00050_1.

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The article investigates the poetic and intertextual narrative structure of Lynne Ramsay’s short documentary film Brigitte. Based in a factory in London, Ramsay’s work carefully captures the well-known photographer Brigitte Lacombe in a narrative set-up, which avoids face-to-face interviews. In this postclassical storytelling structure, black-and-white still photographs and voice-over narration melt into a poetic form that narrates personal and interpersonal histories. The article analyses this very avant-garde symbiosis of images and non-diegetic narration through a close textual analysis, while it also investigates the very form of postclassical short documentary set-ups.

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Zenkin, Sergey N. "The Mask of the Muse. Visuality and Narrative in Richard Le Gallienne’s The Worshiper of the Image." Studia Litterarum 6, no. 3 (2021): 10–39. http://dx.doi.org/10.22455/2500-4247-2021-6-3-10-39.

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This article is a close reading of The Worshiper of the Image (1898), a tragic fairytale by Richard Le Gallienne — a symbolist allegory, whose female character is a coming-to-life visual image. This character is distinguished by polymorphism which manifests itself both in the story’s plot and in the character’s mythical autobiography, namely, in her reincarnations over centuries. The visual hypostasis of this character is L’Inconnue de la Seine — a popular and mysterious kitsch object, the mask of a girl who allegedly drowned in Seine in the second half of the 19th century. The interaction of the Image with other characters is determined by the concept of contagion, i.e., immediate power contact which alternates with abstract allegorical interpretations of the Image (considered, for example, as the embodiment of Art or Beauty); in the course of the narrative, the contagious image gradually displaces the story’s living characters, including the wife of the main character who uncannily resembles and doubles the image. These narrative and visual collisions reflect a precarious position of the visual image in the decadent culture — a conflict between the visual image and narration: the narration fails to provide an exhaustive ekphrastic description of the image and evasively multiplies contradictory impressions of other characters about it instead.

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Thanouli, Eleftheria. "POST‐CLASSICAL NARRATION." New Review of Film and Television Studies 4, no. 3 (December 2006): 183–96. http://dx.doi.org/10.1080/17400300600981900.

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Marqués Serra, David. "Más allá de la imagen. La literatura visual del artista invisible." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 15 (June 10, 2020): 122. http://dx.doi.org/10.7203/scripta.15.17560.

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Resumen: El presente artículo gira en torno al proceso constructivo de la comunicación pictórica contemporánea en el caso de la producción de Joan Millet (Gandía, 1958). Así pues, en él se abordan diferentes cuestiones que se devienen esenciales para la configuración de su particular discurso, tales como la intención narrativa primigenia, la estructura semiótica de la imagen o el valor expresivo de la propia materia. Entender la conjunción entre lo narrativo y lo sensitivo resulta primordial para la comprensión de la intencionalidad del artista en cuestión, que siempre articula sus imágenes minuciosamente, atendiendo y sirviéndose de cualquier recurso compositivo, literario o experiencial que esté a su alcance. Además, también se hace hincapié en la posición que ocupa el posible espectador en el rodeo comunicativo que el artista inicia con la obra. Del receptor, en definitiva, es de quien depende el eventual salto hacia el plano simbólico. Palabras clave: Pintura, narración, literatura, comunicación, bellas artes, arte contemporáneo Abstract: This article revolves around the constructive process of contemporary pictorial communication in Joan Millet’s production (Gandia, 1958). Thus, it addresses different issues that become essential for the configuration of his discourse, such as the original narrative intention, the semiotic structure of the image, or the expressive value of the subject itself. Understanding the conjunction between the narrative and the sensitive is paramount to the comprehension of the artist’s intention, as he always articulates his images meticulously, attending and using any compositional, literary, or experiential resource in his reach. Emphasis is placed on the position of the potential viewer in the communicative exchange that the artist begins with his work, hence being the receiver the one on whom the eventual jump to the symbolic level depends. Keywords: Painting, narration, literature, comunication, fine arts, contemporary art

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Seamon, Roger. "Acts of Narration." Journal of Aesthetics and Art Criticism 45, no. 4 (1987): 369. http://dx.doi.org/10.2307/431327.

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SEAMON, ROGER. "Acts of Narration." Journal of Aesthetics and Art Criticism 45, no. 4 (June 1, 1987): 369–80. http://dx.doi.org/10.1111/1540_6245.jaac45.4.0369.

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Grahame, Peter R. "Looking at Whales: Narration and the Organization of Visual Experience." Journal of Contemporary Ethnography 47, no. 6 (May 21, 2018): 782–806. http://dx.doi.org/10.1177/0891241618768071.

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While interest in visual representations of animals is well established in visual sociology, this article explores another set of possibilities connected with practices of looking at animals. In particular, I examine the social organization of visual experience in whale watching, with a focus on the role of narration. Using detailed transcriptions of whale watch narration as data, I argue that naturalists produce publicly witnessed trip sightings by coordinating what can be seen in the water with understandings of whales as objects of scientific research and environmental concern.

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Dehejia, Vidya. "On Modes of Visual Narration in Early Buddhist Art." Art Bulletin 72, no. 3 (September 1990): 374. http://dx.doi.org/10.2307/3045747.

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Liu, Nan. "Peritext in the Picturebook: Can It Be Metanarrative?" International Research in Children's Literature 14, no. 2 (June 2021): 142–55. http://dx.doi.org/10.3366/ircl.2021.0393.

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This paper focuses on how peritexts function in communicating a picturebook's narration and what impact they have on reading comprehension or interpretation. Based on modern narratological theory and research findings of metanarration, this study analyses the metanarrative function of peritexts in three picturebooks: Chester by Mélanie Watt, Black and White by David Macaulay, and Keine Angst vor gar Nichts by Gudrun Likar with illustrations by Manuela Olten. The findings of this study reveal that peritexts in picturebooks display metanarration at both a verbal and a visual level; they reflect the act or process of narration, highlight the book's narrative features, and affect the reader's reception of the picturebook.

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Smith, Jeff. "Bridging the Gap: Reconsidering the Border between Diegetic and Nondiegetic Music." Music and the Moving Image 2, no. 1 (April 1, 2009): 1–25. http://dx.doi.org/10.5406/musimoviimag.2.1.0001.

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ABSTRACT This article offers an alternative model for conceptualizing the boundary between diegetic and nondiegetic music in film. Most attempts to explain this phenomenon falter because they take this distinction to be solely an effect of a film’s narration and focus largely on the spectator’s apprehension of music’s diegetic or nondiegetic status. Instead, concepts like Robynn Stillwell’s “fantastical gap” might be viewed more productively through a lens that combines three interrelated, but nonetheless theoretically separable, issues: the music’s relation to narrative space, the film narration’s self-consciousness and communicativeness, and the music’s aural fidelity. To illustrate the utility of a model that considers all three of these as factors, I employ several examples where the apparent ambiguity of music’s relation to narrative space can be explained by the manipulation of aural fidelity, the use of spatially displaced sound, and the momentary suppression of information characteristic of film narration’s communicativeness.

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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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Vilkul, Tatiana. "“Bokhmit” in the Rus Primary Chronicle and Chronographic Texts." ISTORIYA 12, no. 12-1 (110) (2021): 0. http://dx.doi.org/10.18254/s207987840018228-9.

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The presentation of the religion of “Bokhmit” (i.e. Muhammad) by the Bulgarian missionaries at the court of Prince Vladimir, reported by the Rus Primary Chronicle s.a. 986, is based upon the Slavonic translation of the Chronicle of George Hamartolos. The same Hamartolos’ text is preserved, in somewhat modified form, in the Chronograph according to the Great Narration. The author compares in detail the narrations by the Greek and the Rus chroniclers. Such a comparison highlights the intentions of the latter: what he opted to use, and what he omitted when composing the legendary narrative of the choice of the faith by Vladimir. The resulting narration was very mundane so that even dogmatic questions were reported as “not to eat pork, not to drink wine”, etc. The understanding of the principles of the composition helps to clarify the very devisings of the choice of the faith, including the dialogue of Vladimir with the Germans (“nemtsy”). Two possible ways of the formation of this narrative are suggested in the paper.

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Sims, Patricia Pringle. "Amateur Participation in Gidayū Narration." Asian Theatre Journal 11, no. 2 (1994): 260. http://dx.doi.org/10.2307/1124232.

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Clarke, M. J. "Lost and Mastermind Narration." Television & New Media 11, no. 2 (October 15, 2009): 123–42. http://dx.doi.org/10.1177/1527476409344435.

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Kyunghoon Jung. "A Multifaceted Reception of American Beauty: A Study on Theme, Narrative Structure, and Visual Narration." New Korean Journal of English Lnaguage & Literature 52, no. 4 (November 2010): 83–106. http://dx.doi.org/10.25151/nkje.2010.52.4.004.

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Loriguillo-López, Antonio, José Antonio Palao-Errando, and Javier Marzal-Felici. "Making Sense of Complex Narration in Perfect Blue." Animation 15, no. 1 (March 2020): 77–92. http://dx.doi.org/10.1177/1746847719898784.

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Although identified as a feature of the film by both critics and researchers, the narrative complexity of Perfect Blue (Satoshi Kon, Madhouse, 1997) has been ambiguously defined. In this article, the authors examine the complex narration in Kon’s first feature film, equivocal and obscure in its more confusing points, through a narratological analysis of the film’s most ambiguous scenes. Using cognitive film theory as introduced by David Bordwell and Edward Branigan, they link its approach in terms of the modulation of information flow throughout the film – high knowledgeability, high self-consciousness and (occasionally) low communicativeness – with the conventions of the slasher genre. Their analysis of the more perplexing scenes in Perfect Blue is reinforced by monitoring the veiled changes of focalization between the film’s three focalizers: Mima, Uchida (aka Me-Mania) and Rumi. In order to do this, they explore how the narration – in the tradition of contemporary puzzle films – makes use of judgements, preconceptions and cognitive illusions in the spectators’ activity to conceal Rumi’s involvement in the persecution of Mima and the murders committed. In the conclusion, they associate the film’s complex narration with its critical commentary on the representation of Japanese pop idols (and former idols) and the state of audiovisual entertainment in Japan.

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Karwowska. "Olga Tokarczuk's “Écriture féminine”: Art, Visual Influences, and Literary Narration." Polish Review 66, no. 2 (2021): 146. http://dx.doi.org/10.5406/polishreview.66.2.0146.

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Nayar, Sheila J. "Écriture Aesthetics: Mapping the Literate Episteme of Visual Narrative." PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 140–55. http://dx.doi.org/10.1632/pmla.2008.123.1.140.

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The norms of art-cinema narration—evident in the work of such directors as Ingmar Bergman, Satyajit Ray, and François Truffaut—reflect noetic processes and expectations engendered by a culture of the written word. Such norms are absent from Hindi popular films, which have been historically contoured by the psychodynamics of orally based thought and by devices and motifs common to oral storytelling. By funneling art-cinema narration's norms—already meticulously (and impartially) cataloged by David Bordwell—through the prism of orality and through the orally inflected characteristics of Hindi popular films and by conjointly engaging with literary theory concerned with issues of textuality, this essay develops a novel conceptual matrix for understanding the epistemic pressures that weigh on visual storytelling as both a spectatorial and a generative act.

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Redfern, Nick. "Film style and narration inRashomon." Journal of Japanese and Korean Cinema 5, no. 1-2 (January 2013): 21–36. http://dx.doi.org/10.1080/17564905.2013.10820070.

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Šermukšnytė, Rūta. "Between truth and memory: images in Lithuanian historical documentaries in post-communist transformation period." Romanian Journal for Baltic and Nordic Studies 7, no. 2 (December 15, 2015): 85–101. http://dx.doi.org/10.53604/rjbns.v7i2_7.

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The goal of this paper is to reveal how and why the circulation of the same historical images takes place; whose values and, simultaneously, memory are conveyed through these images; what is the relationship between the audiovisual representation of the past and collective memory? The article states that manifestations of the visual stereotypes of Lithuania history in post-communist transformation period (1988–2004) are mainly based on certain cinematic tendencies. Historical films that are considered to be an adaptation of the national narrative cinematography have been predominant since 1988. This kind of narration is characterized by validation of history as a national value, formation of national identity and its stabilization rather than diversification and correction of the collective memory or the development of critical thinking. The current documentary material that is based on the understanding of history as a myth of the nation’s history is not aimed at creating a new visual and verbal narration about the realities of the past, but rather at recognizing what has been said and made in the previous works.

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Henderson, John. "The name of the tree: recountingOdysseyxxiv 340-2." Journal of Hellenic Studies 117 (November 1997): 87–116. http://dx.doi.org/10.2307/632551.

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Bringing it all back home,Odysseyxxiv holds an encounter with narration in the relative calm of Laertes' garden, a final and significant retrospection and re-narration of narrative. Always ‘une mise en scène du Père’, Narrative invites us to relive with Odysseus the ‘inferential walk’ on which his father once took him through the trees of his childhood. We explore with and through him the force of narration in forming his (or any?) life-story. Of the signs that persuade father to recognize son, the scar on Odysseus’ thigh has sutured healthy readings; the fruit-trees in Laertes’ orchard have scarcely picked their weight. This essay explores the sign of the trees, beginning with its interaction with the scar, as the staging of an exemplary model of cultural/narrative productivity.

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Junik-Łuniewska, Kamila. "Towards the Visual." Politeja 16, no. 2(59) (December 31, 2019): 149–60. http://dx.doi.org/10.12797/politeja.16.2019.59.10.

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This paper examines the new forms and genres of storytelling in India with an emphasis on the visual aspect of the literary narration. It begins with a remark on the literary and performing tradition of India, where stories were told with an accompaniment of visuals: single or sequential images, scroll paintings, acting etc. With time, storytellers and poets started including modern-day, contemporary themes and problems into their narratives, which not only brought changes in the repertoire of stories, but also, quite naturally, caused development in terms of genres and ways of expression. The present study is based on graphic novels by Sarnath Banerjee and Vishwajyoti Ghosh, with reference to contemporary Hindi literature and some examples from visual art. The author seeks to answer the following questions: 1) what is the “new language” of a literary work in relation to the visual, 2) how – and by which means – does the literature reflect the reality of the new generations, 3) how is a story narrated through images. In conclusion, some observations are made on mutual influences between literature and audio-visual arts.

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Willging, Jennifer. "Annie Ernaux's Shameful Narration." French Forum 26, no. 1 (2001): 83–103. http://dx.doi.org/10.1353/frf.2001.0012.

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Sharma, Yam Prasad. "Didactic Visual Narrations in Nepali Manuscript Illuminations." SIRJANĀ – A Journal on Arts and Art Education 4, no. 1 (December 1, 2017): 146–54. http://dx.doi.org/10.3126/sirjana.v4i1.44442.

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Manuscript illuminations are the early forms of traditional Nepali paintings. Manuscript illuminations are the miniature paintings found in the manuscripts, the handwritten religious texts and treaties on ethics. Such paintings tell the mythical stories in visual form. Some manuscript illuminations present the characters and events in such a way that they tell moral stories using visual medium. Sometimes, the contents appear in the form of fable. The animals are personified, for they act and behave like a human being. In some cases, the visual narration is allegorical in the sense that one set of characters, setting and events stand for other characters, place and activities. Although some characters are animals and supernatural beings, they reflect on this world, human beings and objects in the world. Such paintings explore real world, human experiences and moral values through strange, unusual and de-autometized art forms. The paintings attempt to create moral order in the then contemporary society. This article traces such issues and themes in narrative paintings found in manuscripts like Vishnudharma, Shivadharma, Devimahatmya, Pancaraksa, VesantaraJataka and Hitopadesa.

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Foskolou, Vicky A. "Telling stories with pictures: narrative in middle and late Byzantine monumental painting." Byzantine and Modern Greek Studies 43, no. 2 (September 10, 2019): 194–218. http://dx.doi.org/10.1017/byz.2019.16.

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This article explores the narrative strategies employed in the monumental painting of the middle and late Byzantine period and considers whether the different methods of narration and the degree of narrativity can reveal anything about the function of the work, its creators, its audience and finally its period; in other words whether a narratological approach to visual representation could be a tool for analysing a work of art in socio-historical terms. This is determined firstly by identifying similar narrative structures in contemporary literature and secondly by looking for information on how contemporary viewers ‘read’ the ‘story’ in monumental narrative paintings.

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Chesebro, James W. "Text, narration, and media." Text and Performance Quarterly 9, no. 1 (January 1989): 1–23. http://dx.doi.org/10.1080/10462938909365909.

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Butler, Clare, Jocelyn Finniear, Anne Marie Doherty, and Steve Hill. "Exploring identity: a figurative character image-elicitation approach." Qualitative Research in Organizations and Management: An International Journal 9, no. 2 (June 3, 2014): 151–68. http://dx.doi.org/10.1108/qrom-10-2012-1103.

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Purpose – The purpose of this paper is to explore the potential of incorporating visual methods in the study of identity and identity work. Design/methodology/approach – Scholars have proposed a range of approaches to the study of identity. However, studies have typically relied on interviews or surveys with little exploration of the dynamic narrating of self-in-situ inherent to identity and identity work. The paper reviews the aforementioned methods, builds on the power of visual approaches, and proposes a method involving figurative character image-elicitation (FCI). FCI uses personal, contextual cartoon-style images to mobilize and encourage the narration of identity. The paper details the development of the approach, drawing on a pilot study, and reports its use in an exploratory study of employee identity. Findings – The results suggest that the use of FCI provides a situated focus for the narration of identity with the signifying – self-insitu – nature of the images providing room for participants to position themselves as subject. These features are also suggested to provide a safe distance for a more in-depth and expressive discussion which transcends impression management. Originality/value – The use of FCI has highlighted the power of visual methods in the exploration of identity and identity work. The approach is personally engaging and contextually adaptable providing methodological opportunities for a range of organizational and societal studies.

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Altan, Cemren. "Visual Narration of a Nation: Painting and National Identity in Turkey." Studies in Ethnicity and Nationalism 4, no. 2 (September 2004): 2–17. http://dx.doi.org/10.1111/j.1754-9469.2004.tb00064.x.

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Azéma, Marc. "Prehistoric Cave Art: From Image to Graphic Narration." Paragraph 44, no. 3 (November 2021): 379–93. http://dx.doi.org/10.3366/para.2021.0377.

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This article examines cave art in France, arguing that the images created at many sites, but particularly Chauvet, can be analysed in terms of animation, storytelling, lighting and sound. Through superimposition and juxtaposition, and using the contours of the rock face, Palaeolithic artists invented a form of narration based on images, often then animated by the flickering light of lamps and torches. Drawing on semiological work by Philippe Sohet and his terms ‘narrative image’ and ‘iconic narration’, the article sees panels of cave art as constituting scenes and actions that can be discussed in relation to both bande dessinée and cinema. Finally, evidence suggests that the spectacles produced in these spaces, whatever their elusive meaning, also depended on sound and acoustics.

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Ropars‐Wuilleumier, Marie‐Claire. "Narration and signification: A filmic example." Quarterly Review of Film and Video 11, no. 4 (December 1989): 7–20. http://dx.doi.org/10.1080/10509209009361323.

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Banzato, Monica, and Francesca Coin. "Self-Efficacy in Multimodal Narrative Educational Activities: Explorative Study in a Multicultural and Multilingual Italian Primary School." Media and Communication 7, no. 2 (June 11, 2019): 148–59. http://dx.doi.org/10.17645/mac.v7i2.1922.

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The international migration changed the situation in the Italian school system: it is asked to update educational practices with new pedagogical models of narration and expression (multiliteracies and multimodality) and to promote digital skills from childhood. Self-efficacy, more than the actual performance, influences the will to try again and not give up. Few studies are available on how narrative self-efficacy affects expressive development, especially in school contexts characterized by multilingualism and multiculturalism. This exploratory survey aims to investigate the narrative self-efficacy of eighteen 8-year-old children attending primary school, with a significant presence of international migrant children (two out of three). For three months, these students were involved in multimodal narrative learning activities through gestural/mime languages (theatre), visual languages (drawings), verbal languages (oral and written) and digital languages (digital video narration). The research questions were: (1) Does the multimodal workshop influence the self-efficacy beliefs of the narrative skills perceived by Italian students (L1) and international migrant students (L2)? (2) Does the most influence come from the mime/gestural, the digital video or the entire multimodal narrative activities? (3) In which aspects of the narrative is the self-efficacy most influenced by the multimodal workshop for L1 and L2 groups?

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Dong, Xiaoxu. "Data visualization: A unique storyteller." Technoetic Arts 17, no. 3 (October 1, 2019): 259–79. http://dx.doi.org/10.1386/tear_00020_1.

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Abstract Science and technology have changed all aspects of our lives, including the mode of narration, from traditional stories to data stories. Storytellers have been integrating visualizations into their narratives. From the case studies of some artworks and our students' works to visualization research, we have found distinct genres of narrative visualization and the education method for university students. We describe the differences between these artworks, together with interactivity and information transmission. Some small experiments and some examples of students' works will be shown to explore the visual narrative. We suggest new design strategies including how to make invisible things visible.

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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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Rossouw, Martin P. "Adaptation and audio-visual apophasis in Bullet in the Brain." Short Film Studies 10, no. 2 (April 1, 2020): 215–18. http://dx.doi.org/10.1386/sfs_00018_1.

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Abstract Bullet in the Brain adapts the key rhetorical figure of apophasis from Tobias Wolff's short story into a remarkable interrelation between sound and picture: an 'audiovisual apophasis', in which a series of memories negated by voice-over narration finds visual expression ‐ and further accentuation ‐ as a result of that very negation.

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Batori, Anna. "“Everything is Connected”." VIEW Journal of European Television History and Culture 10, no. 19 (June 24, 2021): 112. http://dx.doi.org/10.18146/view.246.

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The paper discusses the storytelling formulas of the first season of the German series Dark (2017–2020) by focusing on the key temporal and spatial aspects of seriality in the show, such as the time frame of diegesis (story time), the temporal structure of the story (discourse and narration time) and the unique temporal installation of the series. As argued, the story and visual textuality of Dark not only transcends time and space – thus to provide us with a complex narrative set – but, by atemporal and spatial storytelling jumps, it creates a map of inconsistencies of double discontinuity fairly new to television and serial narration. By focusing on these spatial-temporal aspects of the series, the paper sketches a new approach to postmodern television formulas, while it also offers a possible interpretation to the national characteristics of the production based on the recurring theme of captivity in time.

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Brykova, Aleksandra Andreevna. "The narrative strategies of the Soviet graphic stories for children (a comparative analysis of the graphic stories about Clever Masha with D. Kharms’s and N. Gernet’s texts)." Communication Studies 7, no. 2 (June 30, 2020): 379–402. http://dx.doi.org/10.24147/2413-6182.2020.7(2).379-402.

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The article discusses the narrative strategies of original graphic stories about Clever Masha (published in “Chizh” magazine in 1934-1937) and reprinted versions of these stories, which texts were written by N. Gernet (firstly published in 1965). Syntactic and pragmatic analyses help us to show, that both these strategies have common principles of textual coherence and chronological continuation. At the same time the narrative strategy of the original stories actualizes chronotope and dynamic elements of the plot and contains the subject vocabulary duplicating the visual part of the stories so that it demonstrates lot in common with the representative and iconic type of children’s speech. Meanwhile the narrative strategies of Gernet’s texts show the higher level of creolization because of usage of different types of predicates, more complicated way of representation and changing the monologic type of speech to the dialogical one. Moreover, the narrative strategy of the reprinted stories focuses on adult’s narration instead of children’s oral narration in the original stories which means the explicit cooperation with the readers influencing their perception and forming their views and opinions, so that now these stories don’t fulfill the entertaining, but the pedagogical function encouraging young readers to behave as Clever Masha does.

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Zvereva, Tatyana V. "«Letters of a Russian traveller» by N.M. Karamzin: visual aspects of narration." Sibirskiy filologicheskiy zhurnal, no. 1 (March 1, 2007): 24–35. http://dx.doi.org/10.17223/18137083/18/3.

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Cicekoglu, Feride. "Difference, Visual Narration, and "Point of View" in My Name Is Red." Journal of Aesthetic Education 37, no. 4 (2003): 124. http://dx.doi.org/10.2307/3527343.

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Cickoglu, Feride. "Difference, Visual Narration, and "Point of View" in My Name is Red." Journal of Aesthetic Education 37, no. 4 (2003): 124–37. http://dx.doi.org/10.1353/jae.2003.0029.

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Navarrete, Federico. "The Path from Aztlan to Mexico: On Visual Narration in Mesoamerican Codices." Res: Anthropology and aesthetics 37 (March 2000): 31–48. http://dx.doi.org/10.1086/resv37n1ms20167492.

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Gupta, Preeti. "Locating reality through visual narratives: Marjane Sartapi’s surfacing in “Persepolis”." RUDN Journal of Studies in Literature and Journalism 25, no. 4 (December 15, 2020): 714–23. http://dx.doi.org/10.22363/2312-9220-2020-25-4-714-723.

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The innovative way of telling stories by using visuals with a motive of imparting a message to an audience has influenced several writings. The use of visual narratives turns out to be a profound technique of illustrating stories that has existed and continues to exist event today. From oral narratives to visual ones the art of storytelling has always been efficacious and more absorbing. Impressing upon what, how, where, and in what manner the event took place through graphics is fascinating. There is substantial writing that primarily deals with research on visual stories. One such is Marjane Sartapis Persepolis told through the eyes of a young girl, and this unique perspective of graphic narration offers distinctive insight into the perseverance to retain one's identity in tumultuous times. Nations and homelands play an important part in ones identity formation. Associating oneself to national sentiments and signs, individuals feel themselves part of the nation. However, identity becomes problematic for those in diaspora. This research paper intends to look at Majane Sartapis Persepolis as an attempt of the author to surface through many of her inner-outer conflicts. The paper shall trace her journey of self-approval from Iran to Vienna and finally to France. The trauma and the identity crisis she faces during her childhood in Iran and later in Vienna is an experience which she decides to narrate using animated comic images. The use of visual narrative form has helped her convey the trauma and pain she long carried. Finding a homeland and an identity became challenging.

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Carroll, Noël, and Monika Bokiniec. "Koordynowanie narracji filmowej z reakcjami emocjonalnymi widza." Panoptikum, no. 19 (June 30, 2018): 32–42. http://dx.doi.org/10.26881/pan.2018.19.02.

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The purpose of the paper is to show how the narrative address of the movies and their emotional address are typically interconnected. Specifically, how the criterial prefocusing model can be integrated with the erotetic narration model. Erotetic narration explains how a movie holds attention, how spectators are able to follow its unfolding, how it succeeds in making us feel that it is unified, and how it engenders the feeling of closure. It is based on the claim that question formation is a natural human mental propensity and movies exploit this natural propensity, by presenting us with situations that dispose us to formulate certain questions if only tacitly. The promise of those questions being answered sustains our interest in the story, while guideing our tracking of the flow of information and viewing the story with a feeling of unity and coherence, and typically, ultimately closure. Our emotional engagement with movies is not solely a function of the rhetoric of erotetic narration, but also of the emotional content of the narrative. So in order to explain how that engages the audience effectively, Carroll turns to his theory of criterial prefocusing. Emotions are understood here as mechanisms of selective attention, which organise our perception of the environment by picking up what will help or hinder us. Contrary to our natural environment, in the movies, the environment has already been designed to make certain emotional themes, such as danger or injustice, stand out. Elements of the shot, scene or sequence are preselected and made salient by the moviemaker by means of visual devices such as scenography, framing, aural effects and various narrative and dramaturgical structures. The phenomenon of criterial prefocusing serves the purposes of erotetic narration primarily by securing our emotional attachment to the protagonists and our affective aversion or antipathy to the antagonist, which invests us in macroquestions about the overall prospect for success and micro-questions from scene to scene.

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Ladewig, Silva, and Lena Hotze. "Zur temporalen Entfaltung und multimodalen Orchestrierung von konzeptuellen Räumen am Beispiel einer Erzählung." Linguistik Online 104, no. 4 (November 15, 2020): 109–36. http://dx.doi.org/10.13092/lo.104.7320.

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The study presented in this article investigates the temporal unfolding and multimodal orchestration of meaning in a narration. Two aspects are focused on. First, the temporal and multimodal orchestration of conceptual spaces in the entire narrative is described. Five conceptual spaces were identified which were construed by multiple visual-kinesic modalities and speech. Moreover, the study showed that the conceptual spaces are often created simultaneously, which, however, does not lead to communication problems due to the media properties of the modalities involved (see also Schmitt 2005). The second part of the analysis zoomed in onto the phase of the narrative climax in which the multimodal production of the narrative space with role shift dominated. By applying a timeline-annotation procedure for gestures (Müller/Ladewig 2013) a temporally unfolding salience structure (Müller/Tag 2010) could be reconstructed which highlights certain semantic aspects in the creation and flow of multimodal meaning. Thus, specific information “necessary” to understand the climax of the narration was foregrounded and made prominent for a co-participant. By focusing methodically and theoretically on the temporal structure and the interplay of different modalities, the paper offers a further contribution to the current discussion about temporality, dynamics and multimodality of language (Deppermann/Günthner 2015; Müller 2008b).

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Journal articles on the topic 'Visual narration'

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