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Aproximación neurocinemática al corte como articulador fílmico
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In: TDX (Tesis Doctorals en Xarxa) (2020)
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Aproximación neurocinemática al corte como articulador fílmico
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| 24 |
Negative content enhances stimulus-specific cerebral activity during free viewing of pictures, faces, and words
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| 25 |
Psycholinguistic Features of Representation of Emotions by the Concept of «Fear» ; Психолінгвістичні особливості репрезентації емоцій за допомогою концепту «страх»
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In: Problems of modern psychology; No. 48 (2020): Problems of modern psychology; 206-227 ; Проблеми сучасної психології; № 48 (2020): Проблеми сучасної психології; 206-227 ; 2663-6956 ; 2227-6246 ; 10.32626/2227-6246.2020-48 (2020)
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| 26 |
Cinematic equivalence in subtitling : a case study of the biographical drama Forever Enthralled
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| 27 |
From the perspective of the object in semiotics : Deleuze and Peirce
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| 28 |
"Ew, Ew, the Body!": Submerged Racialization in American 21st-Century Children's Animation
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| 29 |
A social constructionist approach to female entrepreneurs' media representation and experiences in Saudi Arabia
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| 30 |
Stranded, Isolated, Cloistered, and Confined: Women Queering Space in Twenty-First Century Italian Cinema
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Stranded, Isolated, Cloistered, and Confined: Women Queering Space in Twenty-First Century Italian Cinema ...
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| 32 |
‘I wouldn’t trust no words written down on no piece of paper’: Jim Jarmusch’s Dead Man, Jacques Derrida and the critique of logocentrism
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| 33 |
Essay film as a dialogical form
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Abstract:
The essay film is one emerging genre in which the sonic elements and the editing characteristics are constructing the basis of its communication structure within and beyond the audiovisual material. This paper will enlighten the unique language and the means of communication of the essay form. In the essay film, the voice functions as a means of expression as opposed to a stack of sounds. With the support of the editing elements, the voice becomes a stylistic reflection towards the world, where the audience perceives the tone of the filmmaker. The voice is also not a rhetoric that oppresses the viewer but functions as a bridge to communicate with, and throughout, the audiovisual material as an artistic act that demands an intellectual response, like an open letter to be finalized in the viewers’ mind. The essay film does not seek to provide answers. Rather, it asks questions to the viewer, directly or indirectly, throughout the dialogue as the core of this filmmaking style. For the filmmaker to communicate with their viewer effectively, they position themselves as part of the audience. The essay film strives to go beyond formal, conceptual, and social constraint. Its structure undermines traditional boundaries, and is both structurally and conceptually transgressive, as well as self-reflective. It also questions the subject positions of the filmmaker and audience as well as the audiovisual medium itself – whether film, video, or digital electronic. This work highlights the dialogical characteristics of the essay film through a selection of essay film works with a focus on the voiceover usage and editing characteristics, to understand how a body of essayistic work addresses the viewer for a dialogical relationship.
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Keyword:
P Philology. Linguistics; PN1993 Motion Pictures
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URL: http://orca.cf.ac.uk/119845/
http://orca.cf.ac.uk/119845/1/ff%20Onen.pdf
https://jomec.cardiffuniversitypress.org/articles/abstract/10.18573/jomec.188/
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| 34 |
'English, motherfucker, do you speak it?': Pulp Fiction and the future of film-philosophy
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| 36 |
Von Hiroshima bis Panmunjeom - Medienbilder und die soziale Problemkonstruktion von Atomwaffen
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| 37 |
Subtitle assessment at SBS TV Australia : application of the FAR model
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Han, Jing (R13238). - : Sweden, Stockholm University, 2019
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| 38 |
Constraints and challenges in subtitling Chinese films into English
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Han, Jing (R13238). - : China, Foreign Language Teaching and Research Press, 2019
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| 39 |
Describing Pictures in Improving the Students’ Ability in Writing
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In: ELT Worldwide: Journal of English Language Teaching, Vol 6, Iss 1, Pp 83-92 (2019) (2019)
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| 40 |
L'agir documentaire, une politique du détail. À partir du cas de #SoyonsHumains
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In: Communication & langages, N 199, 1, 2019-05-02, pp.91-113 (2019)
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