Segui questo link per vedere altri tipi di pubblicazioni sul tema: Cinematic narrative.
Articoli di riviste sul tema "Cinematic narrative"
Cita una fonte nei formati APA, MLA, Chicago, Harvard e in molti altri stili
Vedi i top-50 articoli di riviste per l'attività di ricerca sul tema "Cinematic narrative".
Accanto a ogni fonte nell'elenco di riferimenti c'è un pulsante "Aggiungi alla bibliografia". Premilo e genereremo automaticamente la citazione bibliografica dell'opera scelta nello stile citazionale di cui hai bisogno: APA, MLA, Harvard, Chicago, Vancouver ecc.
Puoi anche scaricare il testo completo della pubblicazione scientifica nel formato .pdf e leggere online l'abstract (il sommario) dell'opera se è presente nei metadati.
Vedi gli articoli di riviste di molte aree scientifiche e compila una bibliografia corretta.
1
Kraft, Robert N. "Rules and Strategies of Visual Narratives". Perceptual and Motor Skills 64, n. 1 (febbraio 1987): 3–14. http://dx.doi.org/10.2466/pms.1987.64.1.3.
Testo completoAbstract (sommario):
A functional distinction was drawn between two sets of cinematic principles, grammatical rules and rhetorical strategies. Four different versions of visual narratives were constructed by either following or violating a cinematic rule and by following one of two cinematic strategies in a 2 by 2 design. Each narrative presented a simple interaction between two characters. Subjects viewed the narratives, evaluated the characters, and then reconstructed the depicted events. As predicted, violating a cinematic rule significantly weakened subjects' reconstruction of the stories but did not alter their evaluation of the characters. Conversely, changing the cinematic strategy influenced subjects' evaluation of the characters but not their reconstruction of the stories. General implications for comprehension of visual narratives are discussed.
2
Vidakovic, Lea. "Fragmented Narratives: Exploring Storytelling approaches for Animation in Spatial Context". International Journal of Film and Media Arts 6, n. 2 (17 dicembre 2021): 7–27. http://dx.doi.org/10.24140/ijfma.v6.n2.01.
Testo completoAbstract (sommario):
Animation is considered a prevalent medium in contemporary moving image culture, which increasingly appears across non-conventional surfaces and spaces. And while storytelling in animation films has been extensively theorized, narrative forms that employ physical space as part of storytelling have been less explored. This paper will examine the narrative aspect of animation works which are screened outside the traditional cinematic venues. It will look at how these animation works tell stories differently - using the full potential of the space, as a narrative device, a tool, and a stage where the narratives unfold. This paper will look at the historical perspective and the state of the art in animation installation today, exploring the relationship between the space and narrative in pre-cinematic, cinematic and post-cinematic conditions. It will examine how narrative structures in animation have changed over time, on their way from the black box of the cinema to the white cube of the gallery and even further, where they became part of any space or architecture. Through case studies of works by Tabaimo, Rose Bond, William Kentridge and other relevant artists, the interdependency of the narrative and the space where it appears will be explored, in order to identify new strategies for storytelling in animation. The aim of this paper is to emphasize the storytelling novelty that animation installations offer, which goes beyond the narrative structures that we are used to see on a single flat surface.
3
Bosica, Matthew. "Review: Warren Buckland, Narrative and Narration: Analyzing Cinematic Storytelling". Frames Cinema Journal, n. 18 (24 giugno 2021): 273–76. http://dx.doi.org/10.15664/fcj.v0i18.2282.
Testo completo
4
Algül, Mustafa. "Anlatı İçinde Anlatı: “Into The Woods (Sihirli Orman)” Filminin Peri Masalı Anlatıları İçindeki Gezintisi". Etkileşim 4, n. 7 (aprile 2021): 128–49. http://dx.doi.org/10.32739/etkilesim.2021.7.121.
Testo completoAbstract (sommario):
Myths, epics, and tales have survived for centuries in the oral expression tradition and have been permanently transcribed from oral tradition into written form. They are the most frequently recreated narratives in the cinema with their fantastic narrative structures. Hollywood cinema has been using tales as visual narratives for years. Tales, which have been turned into a structure open to the interpretation in accordance with the changing world, on the one hand is being reediting continuously. On the other hand, they gain new appearances along with intertwined narrative structures. In Into the Woods (Rob Marshall, 2014), four different fairy tales were used together. In this study, it is aimed to determine what kind of changes has been carried out in the film in terms of the different stages of the fairy tales. For this purpose, while collecting the data by examining the narrative structure of the fairy tales, the action areas are identified in terms of the “five components” in the Greimas’ ‘canonical narrative’. Briefly, the main object in this paper is to explicate the status of the film within the types of the cinematic narratives.
5
Bellardi, Marco. "The cinematic mode in fiction". Frontiers of Narrative Studies 4, s1 (22 novembre 2018): s24—s47. http://dx.doi.org/10.1515/fns-2018-0031.
Testo completoAbstract (sommario):
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.
6
Ings, Welby. "Renegotiating the screenplay: Drawing as a method for narrative development in a short film". Journal of Screenwriting 12, n. 2 (1 giugno 2021): 151–63. http://dx.doi.org/10.1386/josc_00057_1.
Testo completoAbstract (sommario):
This article considers a non-written form of screenplay. In so doing, it illustrates a trajectory of thinking where drawing methods were employed in the development of a cinematic narrative. These visual approaches replaced creative processing normally associated with writing. In discussing the author’s short film Sparrow, the exposition examines three processes. The first method, gestational drawing, was employed as a ‘story finding’ device. The second, immersive drawing, was used to refine thematic intensity in the work. Finally, directorial drawing was employed as a catalyst for discussion when collaborating with actors and production crew. In discussing these drawing methods, the article proposes the concept of ‘screenplay’ as a verb and an active space where a developer of cinematic narratives might work beyond the parameters of writing, to ideate, refine and artistically compose image-led, cinematic narratives.
7
Dakovic, Nevena. "Cinematic narratives of Sonderkommando: Son of saul or narrating the victim, perpetrator, trauma and death". Temida 19, n. 3-4 (2016): 477–92. http://dx.doi.org/10.2298/tem1604477d.
Testo completoAbstract (sommario):
The aim of this paper is to map out - by analysing the film Son of Saul, but also by its comparison with two other films dealing with the topic, Himmelkommando and The Grey Zone, the narrative mechanism that satisfies the complex ethical and aesthetical demands imposed by the theme of Sonderkommando as the particular episode of the Holocaust. The key element of the narrative structure is the construction of the Levi?s ?dead and drowned? witness who ?resurrected? through the narrative intervention becomes the only reliable and credible narrator of the historical trauma. The prerequisite for his emergence is the narration and representation of the death which makes but also solves the traumatised - understood as multiple, fragmented, opposed - identities of the members of the special squad. Their entangled identity involves the simultaneous presence of a victim, perpetrator, witness and the authentic narrator of the trauma of the death camp. The death of the perpetrator is the condition sina qua non for the emergence of the figure of the victim-witness narrator but also for making of narrative which overcomes the initial trauma of the Holocaust. The detailed analysis of the film Son of Saul confirms and identifies these narratives as the modernist narration of the post-traumatic film.
8
Corrigan, Timothy. "Cinematic Snuff: German Friends and Narrative Murders". Cinema Journal 24, n. 2 (1985): 9. http://dx.doi.org/10.2307/1225359.
Testo completo
9
배현. "Cinematic Application of John Fowles’s Narrative Technique". English21 23, n. 3 (settembre 2010): 41–66. http://dx.doi.org/10.35771/engdoi.2010.23.3.003.
Testo completo
10
Belau, Linda. "Impossible Origins: Trauma Narrative and Cinematic Adaptation". Arts 10, n. 1 (22 febbraio 2021): 15. http://dx.doi.org/10.3390/arts10010015.
Testo completoAbstract (sommario):
In this essay, I explore the cinematic adaptation and the representation of trauma, while I further consider the role and significance of the notion of the origin in both trauma and in cinematic adaptation. Through an initial consideration of the relationship between the theory of the impossible origin, particularly as it is articulated by Walter Benjamin, the essay goes on to analyze the significance and role of an impossible origin in the elemental form of adaptation. To this end, the essay considers the movement of adaptation from an autobiographical trauma memoir to a feature film, considering the success or failure of adaptation in situations where the original literary work concerns an experience of extremity. As I consider the vicissitudes of trauma and its grounding in a repetitious structure that leaves the survivor suspended in a kind of missed experience (or missed origin), I further explore how this missing origin (or original text in the case of adaptation) can be represented at all.
11
Ford, Akkadia. "Duration, Compression, Extension and Distortion of Time in Contemporary Transgender Cinema". Somatechnics 9, n. 1 (aprile 2019): 58–83. http://dx.doi.org/10.3366/soma.2019.0265.
Testo completoAbstract (sommario):
Cinema provides ‘privileged access’ ( Zubrycki 2011 ) into trans lives, recording and revealing private life experiences and moments that might never be seen, nor heard and after the time had passed, only present in memory and body for the individuals involved. Film, a temporal medium, creates theoretical issues, both in the presentation and representation of the trans body and for audiences in viewing the images. Specific narrative, stylistic and editing techniques including temporal disjunctions, may also give audiences a distorted view of trans bodily narratives that encompass a lifetime. Twenty first century cinema is simultaneously creating and erasing the somatechnical potentialities of trans. This article will explore temporal techniques in relation to recent trans cinema, comparing how three different filmmakers handle trans narratives. Drawing upon recent films including the Trans New Wave ( Ford 2014 , 2016a , 2016b ), such as the experimental animated autoethnographic short film Change Over Time (Ewan Duarte, United States, 2013), in tandem with the feature film 52 Tuesdays (Sophia Hyde, Australia, 2013), I will analyse the films as texts which show how filmmakers utilise temporality as a narrative and stylistic technique in cinematic trans narratives. These are texts where cinematic technologies converge with trans embodiment in ways that are constitutive of participants and audiences' understanding of trans lives. This analysis will be contrasted with the use of temporal displacement as a cinematic trope of negative affect, disembodiment and societal disjunction in the feature film Predestination (The Spierig Brothers, Australia, 2014), providing a further basis for scholarly critique of cinematic somatechnics in relation to the trans body.
12
BROWN, JULIE. "Listening to Ravel, Watching Un coeur en hiver: Cinematic Subjectivity and the Music-film". Twentieth-Century Music 1, n. 2 (settembre 2004): 253–75. http://dx.doi.org/10.1017/s1478572205000149.
Testo completoAbstract (sommario):
This close reading of Claude Sautet’s music-film Un coeur en hiver / A Heart in Winter (1992) also reflects on issues raised by music-films generally. Films that take music as their central subject raise special questions about the role of music in cinematic representation. Un coeur en hiver’s musically saturated narrative explores people’s abilities to know themselves and others and to express themselves adequately in emotional contexts. At the same time, the film’s techniques interrogate both the role of music in the construction of cinematic subjectivity and the potential of cinema to engage with our understandings of musical subjectivity. On one level the music self-critically serves its classic role in cinematic narrative of encouraging – even coercing – us into filling in narrative gaps otherwise left open by plot and dialogue. On another level, however, Un coeur en hiver can be read as a species of cinematic meditation on Ravel’s music: traces of Ravelian biography are scattered throughout; on-screen performances of the Piano Trio provide a musical metaphor for the narrative love triangle; and the Trio’s first movement provides a formal skeleton for the film as a whole. Drawing on recent film-music theory as well as Naomi Cummings’ account of musical subjectivity, I suggest that the film reflects specifically upon the music by exploiting its cinematic resources – dramatis personae, narrative, and mise-en-scène– to position us as auditors of Ravel; it projects a sense that Ravel’s subjective presence inhabits his trio and sonatas. To shed light on the nature of this cinematic meditation on musical authorship, I draw on John Corbett’s account of recorded music as something that both promises pleasure and threatens lack. I also revisit Edward T. Cone’s understanding of ‘the composer’s voice’, proposing a reading of Un coeur en hiver as a cinematic reflection on our fetishism of composer biography in an era marked by the loss of human presence in mechanical musical reproduction.
13
Hven, Steffen. "Memento and the Embodied Fabula: Narrative Comprehension Revisited". Acta Universitatis Sapientiae, Film and Media Studies 11, n. 1 (1 dicembre 2015): 93–110. http://dx.doi.org/10.1515/ausfm-2015-0017.
Testo completoAbstract (sommario):
Abstract Although Christopher Nolan’s Memento (2000) has been the subject of numerous critical examinations, the unique manner in which the film’s reverse-chronological dramaturgy interweaves the spectators’ cognitive-analytical attempts to ensure causal-linear coherency together with a corporal-affective sensation of temporal loss remains underexplored. This I believe is due to the inability of prevalent narratological terms of cutting across the current divide and uniting on the same conceptual plane the cinematic spheres of the cognitive-analytical, evaluative, and interpretative, on the one hand, with the visceral, haptic, and sensory-affective, on the other hand. As an attempt to carve out a conceptual ground where these key facets of the cinematic experience can be unified in a nonhierarchical and nonreductive manner, I propose an embodied reconceptualization of the cognitive-formalist concept of the fabula. In order to do so, however, it is necessary to dispute a series of dominant assumptions about cinematic spectatorship and narrative comprehension that automatically come with this narratological concept.
14
Khoo, Guan Soon, e Mary Beth Oliver. "The therapeutic effects of narrative cinema through clarification". Aesthetic Engagement During Moments of Suffering 3, n. 2 (13 dicembre 2013): 266–93. http://dx.doi.org/10.1075/ssol.3.2.06kho.
Testo completoAbstract (sommario):
Media psychologists have found no empirical support for catharsis as emotional venting or purgation. However, the concept persists in the humanities and everyday use, particularly in beliefs about the presumed effects of catharsis on well-being. This study adjusts the conceptualization of catharsis to include a cognitive aspect, i.e., the clarification of emotion, and examines the health outcomes of the combination of exposure to drama and drama-induced self-reflection. An experiment (N = 152) was conducted to compare the therapeutic effects of cinematic and reading-based dramas. In a mediation analysis, improvements in general health and lowered levels of depression were found for cinematic drama exposure with self-reflection, compared to reading-based drama exposure with self-reflection; this relationship was mediated by identification and emotional self-efficacy. Our results provide preliminary evidence for the therapeutic benefits of cinematic human drama through an altered conception of catharsis. Implications for using media to facilitate emotional fitness and meaningful entertainment are discussed.
15
Wolfram, Barbara, Christina Wintersteiger, Elena Meilicke, Nina Kusturica e Claudia Walkensteiner-Preschl. "Confronting Realities – First Steps Working on Cinematic Autosociobiographies". International Journal of Film and Media Arts 5, n. 2 (13 novembre 2020): 100–123. http://dx.doi.org/10.24140/ijfma.v5.n2.06.
Testo completoAbstract (sommario):
This paper provides a case study of the artistic research project Confronting Realities – First Steps. Working on Cinematic Autosociobiographies conducted at the Film Academy Vienna/ mdw – University of Music and Performing Arts Vienna, Austria as well as a reflection on the relationship between its research approaches, theory and criticism. Drawing from literary autosociobiographies of Ernaux (Les Années, 2008) and Éribon (Retour à Reims, 2009), the aim was to explore, describe and produce cinematic autosociobiographies - autobiographies in regard to and contextualized within the frame of social class and larger historical developments. Over the course of 10 months a multi-level project was designed and conducted to explore the format of cinematic autosociobiographies within the course “Research Project II” of MA and BA Students for Directing, Script Writing as well as Film and Media Studies. A group of 8 external performers from various backgrounds joined the project. The project was designed on four levels: Level (1) of Autosociobiographical Exploration that created three exploration groups with varying composition – 14 artist researchers/ film and acting students from Europe, refugee artists from Iran and Syria - to explore, make accessible and contextualize one’s sociobiography. Level (2) of Cinematic Forms and Techniques intended to develop narratives, cinematic techniques and formats of cinematic autosociobiographies - 2 short films were produced in that context that show the diversity of cinematic form and content on the levels of visuals, framing, audio, editing as well as in the narrative and the narrative development. Level (3) of Interdisciplinary and Theoretical Contextualization intended to build a strong interconnection between artistic, theoretical and interdisciplinary research about social class, cinematic forms and collaborative strategies of film production. Level (4) of Reflection and Evaluation intended to create a reflective framework, especially focusing on the collaborative aspect of filmmaking, ethical aspects of working with autosociobiographies and of researching/ creating in an intimate way in an academic environment. Cinematic autosociobiographies have shown to provide unique artistic research approaches and tools to convey collective movements, to find relations between different realities as well as creating ways of making them accessible. Further research is still needed and planned.
16
Geslin, Erik, Olivier Olivier Bartheye, Colin Schmidt, Katy Tcha Tokey, Teerawat Kulsuwan, Salah Keziz e Tanguy Belouin. "Bernardo Autonomous Emotional Agents Increase Perception of VR Stimuli". Network and Communication Technologies 5, n. 1 (6 gennaio 2020): 11. http://dx.doi.org/10.5539/nct.v5n1p11.
Testo completoAbstract (sommario):
Video games are high emotional vectors. They play with the emotions of players by eliciting and increasing them. The importance of the induction of basic emotions has been a long forestay and is favoured by video game publishers, as they are quite easily mobilized. Video game publishers look to produce more complex social emotions like empathy, and compassion. In games framework with narrative context, designers frequently use cinema movies methods, like cinematic non-interactive Cutscenes. These methods temporarily exclude the player from interactivity to leave his first viewpoint view and move the camera focusing on the narrative stimuli. Cutscenes were used abundantly and are now rejected, the new development wave is often trying to develop in a “zero cinematic” way. For the same reason, cinematics are also not usable in new Virtual Reality. If VR games and simulations provides a high level of presence, VR environments needs certain rules related in particular to the continuation of free will and the avoidance of possible Break in Presence. We propose in this paper a concept of Emotionally Intelligent Virtual Avatars, which when they perceive an important narrative stimulus, share their emotions through, gestures, facial nonverbal expressions, and declarative sentences to stimulate the player's attention. This will lead players to focus on the narrative stimuli. Our research studies the impact of the use of Bernardo Agents Emotional Avatars involving n = 51 users. The statistical analysis of the results shows a significant difference in the narrative perception of the stimuli and in Presence, correlated to the use of Agents Bernardo. Overall, our emotional Agent Bernardo is a unique concept for increasing the perception of narrative stimuli in virtual environments using HMD, and may be useful in all virtual environments using an emotional narrative process.
17
Galmiche, Julia. "(Dé)montrer en (dé)montant : recadrage des identités narratives dans L'Avenir de Camille Laurens et Vaste est la prison d'Assia Djebar". Dalhousie French Studies, n. 117 (29 marzo 2021): 65–76. http://dx.doi.org/10.7202/1076092ar.
Testo completoAbstract (sommario):
L'Avenir [The Future] by Camille Laurens (1998) and Vast is the Prison by Assia Djebar (1995) are two novels characterized by their absence of linearity on a narrative level as well as a chronological level. This article focuses on the articulation between I and she, auto and fiction, present and past, literary language and cinematic language. It seeks to show how this dual structure provides a shape-shifting, transmedial aspect to the novels being examined, out of which emerges an oxymoric, hybrid narrative better able to reflect the complexity of the female identity. The cinematic language is not simply used to enhance the literay quality of the writing. On the contrary, it plays a significant role in making the narrative more complex and, by doing so, not only replicates at the micro level (content) the dialectics that can be observed at the micro level (form or narrative structure), but also contributes to (re)framing narrative identities. The cinematic language therefore delimits the range of the camera in which the female subject is evolving. At the same time, the reverse angle shot, which acts as a counter-narrative, enables the female subject to reflect on her past self while heralding what is left outside the scope of the camera and is yet to be seen.
18
Figueiredo, Carlos. "Narrative and Visual Cinematic Strategies in Communication Design". Procedia Manufacturing 3 (2015): 4358–61. http://dx.doi.org/10.1016/j.promfg.2015.07.431.
Testo completo
19
Richter, David H. "Your Cheatin' Art: Double Dealing in Cinematic Narrative". Narrative 13, n. 1 (2005): 11–28. http://dx.doi.org/10.1353/nar.2005.0006.
Testo completo
20
SARRAZIN, NATALIE. "Celluloid love songs: musical modus operandi and the dramatic aesthetics of romantic Hindi film". Popular Music 27, n. 3 (ottobre 2008): 393–411. http://dx.doi.org/10.1017/s0261143008102197.
Testo completoAbstract (sommario):
AbstractIn Hindi cinema, love songs comprise the vast majority in an industry in which almost every film contains song and dance numbers. Often incorrectly characterised as narrative interruptions, these celluloid creations contain indigenous aesthetics and self-identifying cultural values, and employ contemporary cinematic techniques which impact film song content and context. How do these cinematic techniques intensify the viewing experience and allow traditional aesthetic ideals to coexist with contemporary codes relevant to a burgeoning Indian middle class and diaspora?Beginning with an examination of traditional sources and contemporary values regarding music and emotion, I address the particularly important notion of displaying heart, often the centrepiece of thematic and dramatic tension as well as the love song soundtrack. As the primary emotional genre, I analyse the use of heart in romantic films and suggest a general typology of romantic film songs and their aesthetics, including commonly used musical motifs and codes.Finally, I compare musical, cinematic and narrative components of the Indian romantic genre with those aspects of the American film musical, particularly in relation to cultural values and ideological differences. The iconic use of a couple-centric narrative is examined in relation to Indian displays of emotion, and love song duets are contextualised through description of several pervasive cinematic techniques used to heighten the emotional impact of songs on the audience. I conclude with a focus on the relationship between the song sequence and the narrative structure, particularly how this serves to intensify the narrative flow rather than interrupt it.
21
Kovács, András B., e Orsolya Papp-Zipernovszky. "Causal Understanding in Film Viewing: The Effects of Narrative Structure and Personality Traits". Empirical Studies of the Arts 37, n. 1 (13 novembre 2017): 3–31. http://dx.doi.org/10.1177/0276237417740952.
Testo completoAbstract (sommario):
The aim of this research was to investigate the extent to which psychological factors interfere with conscious rational problem-solving in constructing a cinematic narrative’s causal connections during film viewing. Talk-aloud protocol was used to record subjects’ verbal reactions during watching films. Viewers’ texts were analyzed to determine the type and the quantity of causal inferences. This enabled us to determine which parts of the narratives provoked high matching of causal inferences. The results demonstrate recurring correlation between causal thinking and the personality trait openness to experience. In the second study, classical and nonclassical types of narrative were compared in terms of provoking causal inferences. The results demonstrate that classical narrative provokes significantly more causal inferences than nonclassical narrative, and that classical and nonclassical narratives rely equally on personality traits in causal construction.
22
Pethő, Ágnes. "The Vertigo of the Single Image: From the Classic Narrative “Glitch” to the Post-Cinematic Adaptations of Paintings". Acta Universitatis Sapientiae, Film and Media Studies 6, n. 1 (1 agosto 2013): 65–90. http://dx.doi.org/10.2478/ausfm-2014-0005.
Testo completoAbstract (sommario):
Abstract As a possible cross section of cinematic narratology and the theory of intermediality the following essay assesses some of the effects of foregrounding the single, intermedial image within film. Specific figurations of intermediality that are experienced via the consciousness of single images, or some kind of “imageness” (i.e. as “intermedial references”) are presented as well as the modes in which they can interact with the narrative structure of a film. This interaction ranges from a momentary interference with the narrative structure of a film to disrupting it altogether; it may consist in constituting the gravity centre of a plot, or even in becoming the “canvas” for a palimpsest of narrative modes and narratives
23
Qureshi, Bilal. "Elsewhere". Film Quarterly 72, n. 2 (2018): 67–70. http://dx.doi.org/10.1525/fq.2018.72.2.67.
Testo completoAbstract (sommario):
War films push the limits and emotions of the cinematic form, but the genre has rarely given its women characters a fraction of the depth afforded the male characters on the front-lines. Indian filmmaker Meghna Gulzar's new film “Raazi” re-orients the conventional narrative of war, suggesting new possibilities for a storied cinematic tradition.
24
Coëgnarts, Maarten, e Peter Kravanja. "A study in cinematic subjectivity". Metaphor and the Social World 4, n. 2 (22 settembre 2014): 149–73. http://dx.doi.org/10.1075/msw.4.2.01coe.
Testo completoAbstract (sommario):
This article offers a metaphorical and embodied examination of the representation of perception in narrative cinema. Using insights from Conceptual Metaphor Theory we argue that the perceptual states of characters can be represented cinematically via audio-visual expressions of metaphors related to the physical functioning of human bodies. More specifically, we show how a predominant pair of conceptual mappings, namely the metonymy perceptual organ stands for perception and the metaphor perception is contact between perceiver and perceived, plays a crucial role in the non-verbal representation of the characters’ perceptual experience.
25
Gyuyoung Lee. "Disaster Narrative and Cinematic Imagination - Focused on the Film". Journal of Foreign Studies ll, n. 30 (dicembre 2014): 555–79. http://dx.doi.org/10.15755/jfs.2014..30.555.
Testo completo
26
O'Callaghan, S., e D. O'Neill. "'By a silken thread': a cinematic narrative of stroke". Practical Neurology 11, n. 3 (5 maggio 2011): 180–81. http://dx.doi.org/10.1136/practneurol-2011-000024.
Testo completo
27
Castrillo, Pablo. "The post-9/11 American political thriller film: Hollywood’s dissident screenplays". Journal of Screenwriting 11, n. 2 (1 giugno 2020): 191–206. http://dx.doi.org/10.1386/josc_00025_1.
Testo completoAbstract (sommario):
The American political thriller, from its cinematic beginnings in the 1960s until its most recent period of popularity in the late 2000s and the early 2010s, has consistently displayed two salient characteristics: on an extra-textual level, it tends to keep a close relationship with the (geo)political environment at the time of production, with themes that resonate with the cultural moment, sometimes even referencing current events, and frequently challenging traditionally upheld American values with mistrustful attitudes towards the State, its institutions, the military and a suspect corporate establishment. On the other hand, the textual configuration of these films reveals a certain nonconformity with the traditionally dominant narrative-aesthetic norms of Hollywood cinema, featuring reactive agency in its protagonists, an unusual degree of subjectivity in its narration and a remarkable degree of ambiguity in the dramatic resolutions of some storylines. These formal features enhance the thematic concerns and cinematic worldview of the political thriller genre, both creating and exploiting perplexity and paranoia in the audience, through highly demanding narratives that remove the feeling of control from the viewer, and with a specific political intent that becomes exceptionally effective thanks to its entertainment value. The works analysed to illustrate this trend covers theatrically released Hollywood films of the genre from 2001 until the present day, with special attention on the impact of 9/11 and the War on Terror in their narrative premises and themes.
28
Nunn, Nora. "Rose-Colored Genocide: Hollywood, Harmonizing Narratives, and the Cinematic Legacy of Anne Frank’s Diary in the United States". Genocide Studies and Prevention 14, n. 2 (settembre 2020): 65–89. http://dx.doi.org/10.5038/1911-9933.14.2.1715.
Testo completoAbstract (sommario):
Drawing from literary and cultural studies, this paper situates U.S. adaptations of Anne Frank’s diary in the 1950s within a lineage of other films about historical genocide, including Schindler’s List, Hotel Rwanda, and The Killing Fields. Analysis of these narrative adaptations matters because it helps us better understand the danger of what critic Dominick LaCapra calls “harmonizing narratives,” or stories that provide the viewer with an “unwarranted sense of spiritual uplift” (14). Tracing the metamorphosis of Frank’s own diary from play to film adaptation, this article builds on existing scholarship to focus on how, in the wake of what has become known as the Holocaust, Hollywood began to construct popular and simplified understandings of complex genocidal crimes—all in the name of celebrating globalized humanity. In the first part of the article, I take a longer view of these adaptations by situating U.S. interpretations of Frank’s diary within a lineage of other Hollywood versions of historical genocide, including The Killing Fields, Schindler’s List, and Hotel Rwanda. I argue that in making Anne Frank’s story morally simplifying and ultimately uplifting for U.S. audiences—in other words, shaping it into what critic Dominick LaCapra calls a “harmonizing narrative”—these Broadway and Hollywood adaptations privileged rose-colored narratology for that would influence future mainstream cinematic representations in dangerous ways. The second part of the paper then considers cinematic alternatives from outside of Hollywood (such as Canada, Rwanda, and Spain) that challenge these harmonizing narratives by enlisting a mise en abyme structure—in other words, the nesting of stories within stories—that ultimately suggest the full representation of genocide is impossible. By making false promises of harmony, Hollywood’s interpretation of Frank’s story has, in turn, limited our understanding of subsequent genocides. On the other hand, alternative modes of cinematic storytelling—most notably, ones such as Ararat that fracture a coherent narrative—compel the audience to grapple with questions of spectatorship, agency, and above all, the problems of representation.
29
Żaglewski, Tomasz. "Infinite Narratives on Infinite Earths. The Evolution of Modern Superhero Films". Panoptikum, n. 22 (17 dicembre 2019): 158–72. http://dx.doi.org/10.26881/pan.2019.22.06.
Testo completoAbstract (sommario):
After almost 20 years of a succesful run of superhero films it seems that we are now entering into the fully-developed format of this kind of cinema. Through films like “Avengers: Infinity War”, “Logan” or “Spider-Man: Into the Spider-verse” the general audience all over the world is becoming familiar with strictly comics-based forms and ideas like retcon, crossover or the multiverse paradigm (that serves as a model for ‘infinite’ superhero narratives and limitless iterations of characters). Despite the fact that popular cinema had already introduced some of these elements before – like the crossover aesthetic in Universal Studios’ horrors from the 1930s and 1940s – modern superhero cinematic universes can be seen as much more demanding productions for the viewers in terms of following strongly comic books-based modes of the ‘multiverse-centric’ perception. As a result we can right now observe an emerging process of turning even the non-superheroic popular cinematic features into very ‘comic booky’ narrative patterns. In this article I’m interested in analyzing the most recent cases of superhero cinema by looking at some specific titles as a way of introducing the narrative systems and tools from superhero comics into cinema.
30
Barzegar, Ebrahim. "Labyrinths and Illusions in David Lynch’s Mulholland Drive and Inland Empire". CINEJ Cinema Journal 5, n. 2 (11 ottobre 2016): 168–88. http://dx.doi.org/10.5195/cinej.2016.150.
Testo completoAbstract (sommario):
David Lynch is known for its surrealistic and bizarre spectacles in his films in and out of America which puzzle and disturb the viewers and yet force them to ponder on the underlying mystery and meaning of them. Multilayered and disjointed narratives of his films strike most of the viewers to get lost in his magical world or Lynchland. In order to fully apprehend his convoluted cinematic narrative, this article aims at unfolding the different layers of his postmodern award-winning film, Mulholland Drive (2001) and INLAND EMPIRE (2006). To achieve this goal, Brian McHale’s thoughts and notions associated with postmodern fiction’s characteristic dealing with foregrounding ontological narratives are chosen and used in this research. It is conclude that Mulholland Drive’s and INLAND EMPIRE's embedded narratives function as a reflection of the primary narrative or diegetic leading to the construction of abysmal worlds.
31
Szita, Kata, Pierre Gander e David Wallstén. "The Effects of Cinematic Virtual Reality on Viewing Experience and the Recollection of Narrative Elements". PRESENCE: Virtual and Augmented Reality 27, n. 4 (2018): 410–25. http://dx.doi.org/10.1162/pres_a_00338.
Testo completoAbstract (sommario):
Abstract Cinematic virtual reality offers 360-degree moving image experiences that engage a viewer's body as its position defines the momentary perspective over the surrounding simulated space. While a 360-degree narrative space has been demonstrated to provide highly immersive experiences, it may also affect information intake and the recollection of narrative events. The present study hypothesizes that the immersive quality of cinematic VR induces a viewer's first-person perspective in observing a narrative in contrast to a camera perspective. A first-person perspective is associated with increase in emotional engagement, sensation of presence, and a more vivid and accurate recollection of information. To determine these effects, we measured viewing experiences, memory characteristics, and recollection accuracy of participants watching an animated movie either using a VR headset or a stationary screen. The comparison revealed that VR viewers experience a higher level of presence in the displayed environment than screen viewers and that their memories of the movie are more vivid, evoke stronger emotions, and are more likely to be recalled from a first-person perspective. Yet, VR participants can recall fewer details than screen viewers. Overall, these results show that while cinematic virtual reality viewing involves more immersive and intense experiences, the 360-degree composition can negatively impact comprehension and recollection.
32
Rezoničnik, Lidija. "Modernist narrative techniques in the screen adaptation of the novel „Minuet for Guitar”". Balcanica Posnaniensia. Acta et studia 24 (20 febbraio 2018): 143–54. http://dx.doi.org/10.14746/bp.2017.24.9.
Testo completoAbstract (sommario):
This contribution focuses on the novel „Minuet for Guitar”, by Slovenian author VitomilZupan, and its film adaptation, entitled „Farewell until the Next War”, by Serbian director Živojin Pavlović. Firstly the article deals with the novel from the perspective of modernistnarrative devices, and secondly it focuses on the analysis of its cinematic adaptation. Basedon the anthropological-morphological method of film analysis it establishes that ŽivojinPavlović used modernist narrative devices in film. Furthermore it studies how and throughwhich cinematic forms of expressions and methods stream of consciousness and memories areshown, as well as how essayistic style, fragmentariness, and associative style are expressed inaudio-visual representation.
33
Grue, Jan. "Ablenationalists Assemble". Journal of Literary & Cultural Disability Studies: Volume 15, Issue 1 15, n. 1 (1 febbraio 2021): 1–17. http://dx.doi.org/10.3828/jlcds.2021.1.
Testo completoAbstract (sommario):
Superheroes are often disabled, either literally or metaphorically. Their exceptional powers and abilities may be balanced by weakness in order to engender audience sympathy or identification, or to provide a source of narrative obstacles. Although superhero stories are not necessarily about disability, they have become one of the most accessible and popular formats in which disability is a consistently salient trope and integral part of the narrative machinery. The article argues that the use of disability in current superhero narratives, exemplified by the Marvel Cinematic Universe (MCU), is best understood through the theoretical lens of narrative prosthesis and ablenationalism. In the MCU, a core function of disability is to provide heroes with a yearning for normality and a desire to be productive members of a community. The interlinked narratives of the MCU effectively depict many of its protagonists as supercrips, framing disability as intrinsically linked to a heroic struggle to fit in with non-disabled society.
34
Weaving, Simon. "Evoke, don’t show: Narration in cinematic virtual reality and the making of Entangled". Virtual Creativity 11, n. 1 (1 giugno 2021): 147–62. http://dx.doi.org/10.1386/vcr_00047_1.
Testo completoAbstract (sommario):
Over the past three years, cinematic virtual reality (CVR) has emerged as a form of media storytelling that takes advantage of the immersive properties of VR technology. However, as a practice it poses a number of challenges for the writer‐director used to controlling the frame through which the viewer experiences the narrative. This research outlines the making of Entangled (a live-action, stereoscopic, VR experience incorporating ambisonic audio) and reflects on concept development and production decision-making with reference to the emerging body of academic knowledge about cinematic VR, in particular ideas about the position of the viewer and the nature of narration. The research addresses some of the gaps in knowledge in these areas, reconciling theoretical positions with a deep understanding of the realities of production processes.
35
Araújo, Naiara Sales, e José Antônio Moraes Costa. "Fear in the fantastic narrative IT: a literary and cinematographic analysis". La Palabra, n. 40 (4 agosto 2021): 1–16. http://dx.doi.org/10.19053/01218530.n40.2021.12534.
Testo completoAbstract (sommario):
The present study aims to analyze the manifestation of fear in the fantastic narrative It, in both literature and cinema. Supernatural themes are a constant in fictional prose, providing an increase in studies on the relationship between fear and fantastic narratives. As theoretical su- pport, we build on the literary scholarship of Yi-Fu Tuan (2005), Stephen King (2013), David Roas (2014), Marcel Martin (2003) and Jacques Aumont (2013). As for methodology, a con- tent analysis model is adopted in a bibliographic, exploratory and qualitative approach. It, A novel, as a fantastic narrative, destabilizes our sources of security by questioning the validity of the systems and beliefs created by and imposed upon on humanity. The results illustrate how the fantastic genre has been characterized as presenting us phenomena and situations that signal a transgression of our reality. This rupture with the real is, therefore, a fundamen- tal effect of fantastic narratives which have also been explored in cinematic narratives.
36
윤천기. "The Cinematic Narrative Techniques in the Novels of Thomas Hardy". Jungang Journal of English Language and Literature 51, n. 1 (marzo 2009): 323–41. http://dx.doi.org/10.18853/jjell.2009.51.1.017.
Testo completo
37
Kwon, Sun-Keung. "The Cinematic Acceptance and Reformation of the Honggildong-Jeon Narrative". Research of the Korean Classical Novel 44 (31 dicembre 2017): 337–71. http://dx.doi.org/10.23836/kornov.2017.44.337.
Testo completo
38
Contessa, Damien. "Film Review: 127 Hours: A Cinematic Narrative of Ecological Identity". Humanity & Society 36, n. 1 (febbraio 2012): 89–92. http://dx.doi.org/10.1177/0160597611433268.
Testo completo
39
Bann, Stephen. "The Odd Man Out: Historical Narrative and the Cinematic Image". History and Theory 26, n. 4 (dicembre 1987): 47. http://dx.doi.org/10.2307/2505044.
Testo completo
40
Fuentes, Victor. "Confluences: Bunuel's Cinematic Narrative and the Latin American New Novel". Discourse 26, n. 1 (2004): 91–110. http://dx.doi.org/10.1353/dis.2005.0013.
Testo completo
41
Pardy, Brett. "Selling Marvel’s Cinematic Superheroes Through Militarization". Stream: Interdisciplinary Journal of Communication 8, n. 2 (31 dicembre 2016): 23–35. http://dx.doi.org/10.21810/strm.v8i2.200.
Testo completoAbstract (sommario):
The Marvel comics film adaptations have been some of the most successful Hollywood products of the post 9/11 period, bringing formerly obscure cultural texts into the mainstream. Through an analysis of the adaptation process of Marvel Entertainment’s superhero franchise from comics to film, I argue that militarization has been used by Hollywood as a discursive formation with which to transform niche properties into mass market products. I consider the locations of narrative ambiguities in two key comics texts, The Ultimates (2002-2007) and The New Avengers (2005-2012), as well as in the film The Avengers (2011), and demonstrate the significant reorientation towards the military of the film franchise. While Marvel had attempted to produce film adaptations for decades, only under the new “militainment†discursive formation was it finally successful. I argue that superheroes are malleable icons, known largely by the public by their image and perhaps general character traits rather than their narratives. Militainment is introduced through a discourse of realism provided by Marvel Studios as an indicator that the property is not just for children.
Keywords: militarization, popular film, comic books, adaptation
42
Klein, Michael L. "Chopin Fragments: Narrative Voice in the First Ballade". 19th-Century Music 42, n. 1 (2018): 30–52. http://dx.doi.org/10.1525/ncm.2018.42.1.30.
Testo completoAbstract (sommario):
This article considers the problem of narration in a collection of works gathered around Chopin's Ballade in G Minor, op. 23: Guillermo del Toro's Crimson Peak, Poe's “The Raven,” Mickiewicz's Konrad Wallenrod, Dickens's The Chimes, and Władysław Szpilman's The Pianist along with its cinematic adaptation by Roman Polanski. Chopin's Ballade is featured prominently in the two movies under consideration, while the remaining works are either influential for the composer (Konrad Wallenrod) or develop themes common to the Ballade. Study of narration in these works reveals that the narrator can be just as unstable in literary texts as in musical ones. The problems of narration that have been imputed to music are problems of narration itself. Regarding the era of Chopin's Ballade, these problems also point to unstable models of subjectivity, which the logic of narrative glosses over.
43
Lipiński, Kamil. "The Fragmentary Narrative in the Nomadic VJ Performance by Peter Greenaway". Panoptikum, n. 19 (30 giugno 2018): 108–20. http://dx.doi.org/10.26881/pan.2018.19.08.
Testo completoAbstract (sommario):
The article explores fragmentary, transmedia images of the nomadic Tulse Luper VJ Performance in terms of activation of the senses. Considering its key characteristics (such as mobility of the spectator, the multiplicity of viewpoints, fragmentary storytelling), this VJ screen-based performance challenges ordinary assumptions of the cinematic experience. This perspective sheds a new light on the areal connection of the multi-screen environment that exceeds the perception of one linear story in favour of a kaleidoscopic stream of images and ekphrastic writing. By analysing spatio-temporal specifics of the No TV Tulse Luper VJ Performance, this methodological study attempted to demonstrate that the VJ projection could not only be perceived as a reconfiguration of the basic trilogy but also as a unique, non-linear, touch-based manipulation of storytelling that aims at transforming a cinematic event into a real-time, expanded audiovisual project.
44
Currie, Gregory. "McTaggart at the Movies". Philosophy 67, n. 261 (luglio 1992): 343–55. http://dx.doi.org/10.1017/s0031819100040456.
Testo completoAbstract (sommario):
I shall argue that cinematic images do not have tense: not, at least, in the sense that has been ascribed to them by film theorists. This does not abolish time in cinema, for there can be temporal relations without tense, and temporal relations between cinematic images can indicate temporal relations between events depicted. But the dispensability of tense will require us to rethink our assumptions about what is sometimes called anachrony in cinema: the reordering of story-time by narrative, of which the flashback is the most common example.
45
Gerlach, Nina. "Greenscape as Screenscape - The Cinematic Urban Garden". Brock Review 10, n. 1 (30 ottobre 2008): 72–85. http://dx.doi.org/10.26522/br.v10i1.23.
Testo completoAbstract (sommario):
The relationship between city and garden appears in many feature films in order to visualize narrative dualisms. In particular, the character of the border - as a fundamental medial characteristic of gardens - determines the meaning of the represented space. According to the Western representation of ideal places and the historically-developed antagonism of city and garden, the border defines the latter as the diametrically opposed utopian antithesis to urban life. This antagonism is used, for example, in The Garden of the Finzi-Continis (1970) in the political context of World War II, or as in Being There (1979), embedded in a philosophical discourse centered on Voltaire and Sartre.
46
Bakulev, Gennady P. "Cinematic media in digital culture". Journal of Flm Arts and Film Studies 11, n. 1 (15 marzo 2019): 8–14. http://dx.doi.org/10.17816/vgik1118-14.
Testo completoAbstract (sommario):
Periods of important technological changes greatly influence film theory, as new films usually raise the key question: what is actually a film? This problem has been discussed by film theorists over many decades.
Todays film industry, in which digital technology is being successfully integrated in the traditional narrative media and combined with the established visual paradigms, clearly demonstrates how classical artistic approaches can go along with new technical developments.
Contemporary documentary cinema is a vivid example of the ways in which digital technology can expand and deepen the area of cinematic media. Basing themselves mostly on traditional formats, media makers create products which could be rightfully considered as new genres.
By restructuring cinemas borders film scholars widen the scope of their studies. One of the ideas attracting their attention is that of expanded cinema. This concept, suggested by Gene Youngblood, is usually related to experimental media, in which the perceptive context is the key aspect of artistic creativity.
The principal task of film researchers has been to follow the continually changing horizons of cinema in the context of film history. New schemes of development often create new problems which can be solved only by means of new critical tools.
47
Cary, Lisa J., e Stuart Reifel. "Cinematic Landscapes of Teaching: Lessons from a Narrative of Classic Film". Action in Teacher Education 27, n. 3 (ottobre 2005): 95–109. http://dx.doi.org/10.1080/01626620.2005.10463394.
Testo completo
48
Lee, Sung-Ae, Fengxia Tan e John Stephens. "Film Adaptation, Global Film Techniques and Cross-Cultural Viewing". International Research in Children's Literature 10, n. 1 (luglio 2017): 1–19. http://dx.doi.org/10.3366/ircl.2017.0215.
Testo completoAbstract (sommario):
Adaptation is often a transcoding into a different set of conventions, and here we argue that print to film adaptations introduce and depend upon a bundle of conventions and techniques which are already globalised and hence facilitate cross-cultural understanding more than print media might do. Films for children and young adults seldom reach a cross-cultural audience, but we contend that this is a consequence of uni-directional globalisation rather than any barriers constituted by the films themselves. In an analysis of narrative conventions and cinematic techniques in film adaptations from China, South Korea and Japan we show that cinematic features enable boundary crossing and ensure childhood experiences are intelligible cross-culturally. These features are broadly of two kinds: elements of narrative, especially global scripts, and cinematic techniques of cognitive and technical kinds. Scripts, whether of general types such as a children's film structure or cause-and-effect structure, or thematic types such as the triumph of the underdog, are widely recognisable. We examine conceptual metaphors, which are intrinsic to human cognition, the visual strategy of emotional mirroring, and film as a metonymic mode which sustains a deeper significance while requiring minimal decoding activity on the part of viewers and promoting mutual understanding between cultures.
49
Yukins, Elizabeth. "Film in Ralph Ellison’s Three Days Before the Shooting . . ." Twentieth-Century Literature 66, n. 3 (1 settembre 2020): 333–60. http://dx.doi.org/10.1215/0041462x-8646874.
Testo completoAbstract (sommario):
In the posthumously published Three Days before the Shooting . . . (2010), Ralph Ellison’s protagonist spends years as a film actor and filmmaker, and cinematographic effects appear throughout the narrative. Sharply aware of what he called the “enormous myth-making potential of the film form,” Ellison sought in this second novel both to explore the artistic possibilities of film and to expose the dangers of this potent medium. This essay examines three interrelated ways that movies matter to Ellison’s literary experiments. First, it argues that Ellison’s ambivalence about the American movie industry correlates with both his technological savvy and his sociopolitical conservativism in the latter half of his writing career. Second, it shows how Ellison’s fascinations with cinematic effects shape the aesthetics and themes of his unfinished second novel. Finally, the article demonstrates how Ellison’s specific techniques in representing cinematic experience exemplify, ironically, his primary allegiance to literary narrative.
50
Tong, Lingwei, Robert W. Lindeman e Holger Regenbrecht. "Viewer’s Role and Viewer Interaction in Cinematic Virtual Reality". Computers 10, n. 5 (18 maggio 2021): 66. http://dx.doi.org/10.3390/computers10050066.
Testo completoAbstract (sommario):
Cinematic Virtual Reality (CVR) is a form of immersive storytelling widely used to create engaging and enjoyable experiences. However, issues related to the Narrative Paradox and Fear of Missing Out (FOMO) can negatively affect the user experience. In this paper, we review the literature about designing CVR content with the consideration of the viewer’s role in the story, the target scenario, and the level of viewer interaction, all aimed to resolve these issues. Based on our explorations, we propose a “Continuum of Interactivity” to explore appropriate spaces for creating CVR experiences to archive high levels of engagement and immersion. We also discuss two properties to consider when enabling interaction in CVR, the depth of impact and the visibility. We then propose the concept framework Adaptive Playback Control (APC), a machine-mediated narrative system with implicit user interaction and backstage authorial control. We focus on “swivel-chair” 360-degree video CVR with the aim of providing a framework of mediated CVR storytelling with interactivity. We target content creators who develop engaging CVR experiences for education, entertainment, and other applications without requiring professional knowledge in VR and immersive systems design.