David Bordwell

*Academic Book Review* Killer Tapes… is a fascinating book with rigourous theoretical content and effective challenges to entrenched modes of thinking about movie spectatorship. Benson-Allott outlines a new phenomenology of spectatorship, but this reader is left with important questions regarding certain denials of intent  and limits in surveying the postcinematic landscape and in defining a postcinematic movie culture. In this sense, Killer Tapes… finds its ideal readership in those who are eager to further Benson-Allott’s own ideas and help to scope-out the full field of postcinematic movie culture.

The translation of The Writer's Journey, by Christopher Vogler, and the practically simultaneous publication of Story, by Robert McKee, revived the debate about books on film and TV scripts, in which guides, descriptive studies and academic analyses are mixed together in a field where often the borders between different particular issues are crossed. This intersection of theoretical writings discloses a great deal of agreement between academic conclusions and the ones screenwriters reach in their day-to-day practice, which can produce the question: in what ways do screenwriting manuals and analytical studies complement each other and how do they exchange contributions?

Technicians of the unknown cinema: British critical discourse and the analysis of collaboration in film production, by Martin Stollery Since the early 1970s British cinema history has conventionally been characterized as an unknown landscape, a tradition for which even those who created it knew little and cared less. This essay argues instead that especially in the mid 1930s and late 1940s there was an active discourse with the film industry's technical community, a debate that was particularly concerned with issues of collaboration and authorship. Concentrating on the work of Adrian Brunel and Ivor Montagu and their associates, notably film editor Ian Dalrymple, the essay outlines one aspect of this debate, and observes its traces on the production of Berthold Viertel's Little Friend (Gaumont-British, 1934).

This course aims to introduce you to film as a serious academic discipline through a variety of foundational texts, important essays, and screenings of both familiar contemporary films and films of historical and theoretical significance that will be new to many of you. The material presented in the course aims to foster a dynamic and inquisitive environment where you can engage with cinema as a popular medium that is problematized by its ideological impact and struggle for artistic authenticity. The course is roughly divided into three units of varying length: the first and longest unit is an introductory component on film form that presents you with foundational terminology. The second, shorter unit is focused on Hollywood and its relationship with authorship, genre, and ideology. The course concludes with two weeks that present alternative modes to Hollywood filmmaking and analysis. Screenings and lectures are supplemented by illustrative clips, extensive reading of a core text book (Film Art) and essays made available on Connect, as well as by mandatory weekly discussion sessions.

Worth noting, is that Wall-Romana relies heavily on biographical explanatory arguments for constructing his historiographical model and that this seems genuinely at odds with his over-zealous advocacy of post-structuralist methods such as hermeneutics, post-structuralist ontology such as corporeality, as well as, post-structuralist theories such as, queer theory and affect theory. From a traditional biographical argument, Wall-Romana presents Abel Gance as planting a seed in Epstein for the latter’s later flourishes of philosophical poetry in the cinematic milieux, however Wall-Romana also claims that Epstein’s queerness was rigourously individualized articulating Epstein’s oeuvre in profoundly unique ways. Gance is an author inscribing Epstein, yet Epstein is paradoxically erasing those inscriptions to produce his work from a state of tabula rasa. We can provide Wall-Romana will a modest amount of leeway given that the crux of his thesis regards Epstein’s gravitational flux at a crossroads in the discourse of cinematic epistemology. A real problem arises when Wall-Romana is unable to properly theorize whether the crossroads constitutes a bundle of things or the frayed ends of a single thing, in a phenomenological sense for the understanding of cinematic epistemology. I will elaborate on these ideas later in this paper.

*Everything uploaded to my Academia.edu in 2017 is considered a draft. I was required to do regular graduate course work for the first year of my doctoral studies and took the opportunity to play out some personal theories. It's all a prolegomenon for a bigger project down the road and these ideas will require a more rigourous distillation to be of real value to the scholarly community.

With its persistent techno beat, its dynamic title character with her flamingly red-dyed hair, its kinesthetic appeal, its abundance of visual modalities, its temporal complexity, Run Lola Run (Lola rennt 1998, Tykwer) can be regarded a representative of the transformations in spectatorial address witnessed in contemporary 'puzzle-films' (cf. Buckland 2009), 'neuro-images' (cf. Pisters 2012) or 'complex narratives' (cf. Simons 2010).   
In Cinema 2 (2005 [1985]) Gilles Deleuze famously proclaimed that the Bergsonian conception of memory had found its expression in modern(ist) cinema, and encapsulated this in the dictum: "Memory is not in us, it is we who move in a Being-memory, a world-memory (Deleuze 2005 [1985], 95)." In this paper it is argued that contemporary cinema does something similar; however, this time with an emphasis on narration. No longer offering 'illusions of reality' but rather 'realities of illusion' (cf. Pisters 2012), it is argued that with contemporary 'complex' cinema narrative is not in us, but it is we who move in a Being-narrative, a world-narrative. Such a conception of 'complex narratives' open up for a productive encounter between the often polarised positions of Deleuzian film-philosophy and cognitive film science.
Yet, it prompts a departure away from the computational 'classical sandwich' conception of cognition (cf. Hurley 1998), which governs the cognitive-formalist assumption that the spectator's comprehension of the narrative is "theoretically separable from his or her emotional responses (Bordwell 1985, 30)." In order to promote a more embodied conception of spectatorship a reconstruction of the concept of the fabula is proposed. In short, rather than regarding the fabula as a coherent, linear and causally ordered representation of the narrative, it shall be understood as a dynamic and enactive tool, which spectators utilise to navigate narrative environments. It is thus assumed that narratives are best understood as complex systems; i.e. that a narrative cannot be properly understood as merely the sum of its parts or 'modules' once these have been broken down and temporally reorganised according to a causal-linear logic of the fabula.
As a means of comprehending the dynamical interplay between the cinematic material, and our cognitive and affective engagement with this, the paper follows John Protevi's (2010) proposal to combine Deleuzian philosophy, embodied cognitive (neuro)science, and dynamical system theory. The hope is that this amalgamation may support an enhanced understanding of how 'complex narratives' such as Run Lola Run prompt an embodied and enactive cinematic experience.

Dentro del conjunto de innovaciones formales incorporadas a partir de la consolidación de la modernidad cinematográfica en Argentina, el empleo del comentario narrativo y los procedimientos metatextuales aparecen como marcas identitarias en las producciones de esta etapa. A partir de la utilización programática de diversos recursos que buscaron romper con la ilusoria transparencia narrativa del modelo clásico –desde la simple mirada de los actores a cámara hasta la puesta en evidencia del dispositivo cinematográfico; desde el montaje expresivo a la tematización del “cine dentro del cine”- las narraciones ficcionales de los años sesenta elaboraron unos discursos en los
que no sólo se explicitó la motivación de toda elección estética (valorizando las cuestiones éticas que subyacen a cualquier acto de representación), sino que también utilizó aquellos recursos que acentuaron el carácter arbitrario del discurso cinematográfico para formular críticas sobre el medio mismo, sobre otros afines –la televisión, la publicidad- o también sobre las configuraciones del campo cultural y el consumo de bienes artísticos .
El presente trabajo se propone historiar las modalidades de inscripción de recursos donde se visibiliza la función comentadora o metatextual dentro del cine moderno argentino producido entre 1957 y 1976. La importancia de dar cuenta de la aparición y consolidación de estos elementos dentro de los films, según creemos, radica en que ellos
permiten observar desde un lugar poco transitado las transformaciones estilísticas e ideológicas operadas en estos años, las cuales se ligan por un lado a la necesidad de establecer marcas de enunciación que den cuenta del posicionamiento de los nuevos realizadores al interior del campo cinematográfico (una política de la representación), pero también en segunda instancia se asocian al imperativo de exponer reflexiones sobre el contexto político y social en el que las producciones se vieron inmersas. De esta manera, se pretende cartografiar la presencia de tales procedimientos con relación a los movimientos internos del campo como con las posiciones que este mantuvo con los planos políticos y sociales. Se busca así reinscribir a estas prácticas, al contrario de lo
sostenido por la historiografía clásica y por el cine militante de finales de los años sesenta, dentro de una tradición caracterizada tanto por la enunciación de un compromiso con la propia estética y también con el medio en el cual esta se despliega.

In this essay I follow André Bazin and David Bordwell and their discussion of the deep-focus long-take as well as staging in depth. I have three goals. First, I engage with the style of Swedish director Roy Andersson. Andersson – born in 1943 and best known for his films Songs from the Second Floor (2000), You, the Living (2007) and A Pigeon Sat on a Branch Reflecting on Existence (2014) – champions a distinctive aesthetics that involves the use of static long-takes in deep focus without close-ups, elaborate compositions and various strategies of staging in depth. Second, I aim to add to the scholarship on staging in depth as a potent, but largely overlooked stylistic device. Looking at the films of Roy Andersson can help to expand the research on staging in depth: Andersson does not simply repeat the ways his precursors have used the device, but introduces innovations and adds new thematic ends to it. In a third and final step I will look at how Andersson’s style is tied to his content and how it creates meaning. I propose that Andersson’s staging in depth may be connected to a pessimistic outlook on the loneliness of our modern life-world in which others confront us merely as apathetic bystanders. At the same time, the cinematic staging in his complex images serves a pedagogic purpose that harbours optimistic hopes. Through his style Andersson challenges his viewers to become attentive observers: unlike his characters we are supposed to watch the world – including his films – with particularly perceptive eyes.

The book Transcendental Style in Film, written in 1972 by future film director Paul Schrader, offers perhaps the most extensive analysis of how a particular film style might have a specifically religious significance. The article provides a critical discussion of Schrader’s theory, with a particu- lar focus on the films of Carl Th. Dreyer. Schrader’s ideas are compared to alternative explanations of the same stylistic features provided by David Bordwell and Torben Grodal. The article concludes that while Schrader identifies a number of pertinent stylistic features, the ‘transcendental film’ is better understood as a subset of the art film mode. Torben Grodal’s description of the intertwined effect of a salient (often abstract) style and thematic content indicative of higher meaning, coupled with the contribution of a suitably disposed spectator, is, the article argues, more plausible than Schrader’s analysis.

A partire dal pensiero di Baudry, il saggio si concentra sulle principali tappe delle teorie del cinema che hanno affrontato il problema del legame tra paradigmi cinematografici, struttura mentale dell’uomo e ideologia. Arrivando ai nostri giorni, si affronta il problema nella divisione teorica tra Post Theory, con la negazione dell’ideologia, e i nuovi lacaniani, che vedono ancora nel cinema la messa in opera del pensiero ideologico, ma anche luogo di visualizzazione critica del suo stesso funzionamento.

The aim of the thesis is to provide an overview of three contemporary action films: Dredd 3D, John Wick, and Mad Max: Fury Road, through a so-called "bio-structuralist" approach - combining archetypal criticism, literary Darwinism, and narratology, into a unified, holistic theoretical model.
The thesis is divided in four main parts: (1) an introduction, that gives a rationale for the aim, scope, and the design of the thesis, (2) a theoretical framework, which provides both an overview of the theories and fits them in the general model, (3) a part including the case studies, that puts the theoretical approach to the test, and finally (4) a conclusion that gives a verdict on the feasibility of the model and summarizes the findings. A particular emphasis is put on the monomyth as a story paradigm that all the films in the case studies share, whose combination of a biologically dictated scaffolding, and cultural brickwork, is an excellent testing ground for the theoretical model.
In addition to the attempts of revealing glimpses of our evolved nature in the plots, narrative conventions, cinematography, themes, motivations, settings, and character networks in the films, the thesis attempts to balance the hardliner literary Darwinist stance of the dominance of biology over culture, with an acknowledgement of the existence of cultural transmission and stylistic evolution. Thus, the thesis proposes terminology that differentiates between cultural units totally dominated by biology, partially tied to it, and completely independent of it, albeit spread in ways  reminiscent of biological evolution.
The proposed theoretical model is shown to be a viable alternative to post-structuralist approaches as far as the study of action cinema is concerned, with its ample scope serving as its principal advantage.

This paper examines the objections leveled by semiologist and theoreticians of the visual media against the widely held belief that photographic and cinematographic images may act as realist maps of the extradiscursive world on the basis of their intrinsic features. It is argued that Saussurean semiology, as well as, to a lesser extent, Peircean semiotics, do not support the concept of photographic images as unchallengeable signs. Saussurean semiology, in particular, deals with photographs as with any other arbitrary sign. This semiological skepticism, the paper points out, informs the analysis of still photographs, cinema, and computer-generated images. Against these uncompromisingly antirealist claims, the paper sketches out a theoretical framework by means of which visual evidence may be reclaimed for realism. The argument suggests that, more than a matter of semiological analysis, what is at stake here is an axiomatic judgment about the consistency and stability of the lifeworld.

This paper is the sixth instalment of a book-length study provisionally entitled On Virtual Grounds: A Blueprint for a Postmimetic, Dialogical Realism. Previous instalments—entitled respectively “Toward a Dialogical and Postmimetic Realism,” “Classic Realism, the Nostalgic View,”  “Modernist Antirealism: Existential Alienation and the Solace of Form,” and “The Thingless Sign: The Structuralist and Poststructuralist Challenge against Referential Illusion,” and “The Politics of Mimesis”—are also available on Academia.edu.

Norm as a tool of structural analysis and writing of aesthetically based history is a concept designed by Czech structuralist Jan Mukařovský. For several decades, American film scholars David Bordwell and Kristin Thompson have been handling this notion. After a review of the original concept, the article follows three main goals: (1) The broadest aim is to reconstruct specific roles the concept played in the process of establishing the so-called neoformalist poetics approach. By returning to Mukařovský's starting points, we should be able to more clearly understand how his concept of norm was employed and transformed by neoformalist poeticians in order to solve the problems of film studies as an academic discipline on the one hand and problems in formulating concrete research projects on the other. (2) The more particular goal is to point out certain shifts in neoformalist poeticians' handling of the concept of norm after they formulated the classical Hollywood cinema model. The concept of norm was initially used by them as a tool for bottom-up research of the stylistic history of cinema, as a hollow category for its unbiased explanation. However, consequently it has also become a somewhat filled category applied rather top-down as an interpretative background for assessing its alternatives. (3) The final goal is to answer the question why this re-assessment and interrogation of roles played by norm in neoformalist poetics matters now. By returning to the original concept of norm and by the treatise of its changing functions for film study, the article aims to remind us of the usefulness and flexibility of this research tool. As is suggested in the last part of the article, we still know too little about historical poetics of so-called regional cinemas. If we want to understand them properly, the concept of norm is highly worthwhile – but only if is reached by bottom-up research as the hollow category for the unbiased explanation of certain cinematic phenomena.

Adaptations of literary works into films can be examined from different aspects. This study takes the analysis of narrative as its basis and for that goal it makes use of David Bordwell’s distinction between fabula and syuzhet in his Narration in the Fiction Film. It narrows down its study of syuzhet to Bordwell’s categorization of narrative strategies into narrative self-consciousness, knowledge, and communicativeness. As McEwan’s two novels, Atonement and Enduring Love, are both self-conscious works, the thesis takes the comparison between the novels and their screen adaptations’ self-consciousness as its main focus, using Bordwell’s categorization as well as Linda Hutcheon’s theories on metafiction and metafictional paradox. It will also examine how the other two strategies (the knowledge and communicativeness strategy) contribute to the works’ self-consciousness. Using Linda Hutcheon’s theories on adaptation, the study aims to examine the motivations of the adapters to analyze the impacts that they can have on the self-conscious strategy of the narratives throughout the adaptation process and onto the final product. In this regard, Hutcheon’s study of the quality of the immersion of the reader/audience into the illusion of narrative works with different degrees of self-consciousness would be pertinent.

Keywords: Adaptation, Narrative, Self-consciousness, Illusion, Immersion, Ian McEwan, David Bordwell, Linda Hutcheon

This chapter casts a critical eye on various classifications of reflexivity that have been proposed by film and media scholars over a number of decades. These center on the reflexive content of films, their self-referential communicative structures and functions, and intended effects of reflexiveness on spectators. In this context I differentiate (self-)reflexivity and related terms/concepts—metafiction; metacinema, mise en abyme, allusion and intertextuality, self-conscious style and narration—from a twenty-first century standpoint, and outline an alternative classification of reflexive forms in celluloid and digital cinema. The latter are distinct from specific reflexive devices (e.g., the film within the film, direct address, display of the cinematographic “apparatus”) and general modes (e.g., political, formal, ludic). As illustrated through concrete examples, the five transmedial forms posited—environmental; trans-art and intermedial; generic; creator-centered; performance-based—typically occur in complex combinations. Their identification, and the new conception of cinematic reflexivity this typology represents, aids in the analysis and interpretation of reflexive and metacinematic films and styles.

Here is the published chapter I wrote for the Anthem Handbook of Screen Theory, edited by Tom Conley and Hunter Vaughan. It is the chapter on sex and gender in film theory, covering feminist film theory and queer cinema studies. It addresses the debates with a polemical critique of the ways feminist theory was targeted within the discipline.

The article discusses the cinema of Quentin Tarantino and its essence.
The article resumes the book published in 2010 by the same author in Brazil, indicated to Jabuti Prize. The book has its origins in a PHD thesis of the autor in  Sao Paulo,1999.

Si Wittgenstein a peu écrit sur le cinéma, sa pensée est une ressource précieuse pour aborder les débats qui animent la philosophie analytique du cinéma. En effet, non seulement ses arguments et sa défense de l’autonomie des Humanités s’y révèlent utiles pour interroger la pertinence des démarches dominantes, mais c’est la priorité même de la théorie filmique sur la pratique critique qu’on est conduit à remettre en cause à la suite de l’un de ses héritiers philosophiques, Stanley Cavell.

El presente ensayo busca reflexionar al respecto de dos grupos de conceptos que el teórico del cine David Bordwell construye alrededor de las nociones de conocimiento y comunicación, y en menor medida sobre la autoconsciencia, en el capítulo cinco de su libro Narration in the fiction film, titulado “Sin, murder and narration”.
En dicho capítulo Bordwell pretende mostrar el modo en que las categorías narrativas de su teoría fílmica se pueden aplicar a tres películas de dos diferentes géneros cinematográficos, el cine de detectives y el melodrama, no obstante, en su proceso de argumentación es posible notar como las técnicas narrativas se ven reducidas a los métodos de construcción de la historia , los cuales, según Bordwell, consisten en cómo el argumento  presenta y oculta información, apoyándose en el estilo  de la película, o bien, de modo similar, cuan comunicativo se presenta el argumento. Es preciso notar, desde el principio, que la noción de información y los conceptos derivados de la misma (conocimiento, lagunas, omnisciencia y restricción), distan de los conceptos relacionados con la noción de comunicación (comunicatividad, falta de comunicatividad y supresión), aunque a en un primer término parezcan sumamente similares.

Dissertation of Post-War Japan and Ozu's depiction of the everyday. Chapter 1 studies Tokyo Story (1953), the modernisation of the city, evaporation of rural tradition and the cyclic nature of life. Chapter 2 examines familial tradition and the Modan Garu in Early Summer (1951) and Late Autumn (1960). Chapter 3 analyses Ozu's final film An Autumn Afternoon (1963), consumerism in Japan, older generational anxieties and nostalgia.

Overall, the paper comments on Ozu's own attitude towards the diminishment of Japanese tradition and how he conveys the radical changes in post-war Japanese life.

Tato studie o práci výjimečného filmového badatele Adriana Martina byla napsaná při příležitosti vydání českého překladu jeho knihy Mizanscéna a filmový styl (2019, NAMU). Text nejdříve stručně charakterizuje Martinovu specifickou pozici v souvislostech dějin myšlení o filmu. V následujících kapitolách jej pak zasazuje jak do specifických kontextů australských, kde jeho přístup hrál významnou roli, ačkoli vlastně vždycky působil jako solitér stojící spíše mimo etablované instituce, tak obecněji do kontextů obecněji mezinárodních, do nichž vstoupil zejména v novém tisíciletí a rychle se adaptoval na mnohé výzvy, které přinášelo online publikování. V závěrečné části se článek analyticky zaměřuje právě na knihu Mizanscéna a filmový styl, již funkčně srovnává s dvěma jinými podobně ambiciózními publikacemi, které volí vůči ní alternativní cesty (Johna Gibbse a Davida Bordwella).

Ahora que Bond imita a Bourne es momento de leer a David Bordwell. Tras el estreno de la última entrega de la saga Jason Bourne, El ultimátum de Bourne, más de uno salimos del cine en estado de shock dual, sin acabar de decidirnos entre el flipe estético y el rechazo sensitivo. Algunos días más tarde descubrí que el amigo Bordwell -cuyo blog suelo ojear a menudo-había sido víctima de un síndrome similar. Síndrome que le había impulsado a escribir un artículo que, bajo el título de Unsteadicam Chronicles, se proponía reflexionar acerca de las estrategias de filmación de la saga, concretamente en torno a la vibración reiterada del plano. Discusiones posteriores con algún amigo cinéfilo contribuyeron a enredar aún más la madeja: ¿logro sin par de un nuevo tipo de imagenacción en constante movimiento o abuso flagrante del peor efectismo visual? ¿Estética identitaria de una saga y un personaje o chute presuntamente documental, presuntamente verista, que camufla la falta de una acción-movimiento verdaderamente construida, filmada? ¿Hallazgo contemporáneo o engaño artificial?

This thesis answers the question whether it is possible the transmedia Narration – defined as the process by which the interacting parts of the story are scattered to multiple media and conflated in the minds of the audience in causal and chronological sequence of questions and answers – consider as historically conditioned set of standards and conventions of storytelling and its understanding. Parallel to answering central hypothesis is after evaluating the current research in transmediality is developed the possible analytical approach that allows comprehensive analysis of transmedia. Transmedia analytical approach that combines neoformalism with erotetic understanding of narrative and uses a revised methodology apparatus is tested on the example of Star Trek. At the end of the thesis the conribution is summarized and it is revised conclusion of the main hypothesis, because the existing aesthetic knowledge assessed in perspective of historical context.

Since the mid-1990s, a number of films from international filmmakers have experimented with increasingly complicated narrative strategies-including such hits as Run, Lola, Run, 21 Grams, and Memento. This book sets those films and others in context with earlier works that tried new narrative approaches, including Stage Fright and Hiroshima, Mon Amour, to show how they reveal the limitations of most of our usual tools for analysing film. In light of that, Steffen Hven argues for the deployment of an 'embodied' reconfiguration of the cinematic experience, one that allows us to rethink such core constituents of narrative understanding as cognition, emotion, and affect.

A partir dos anos 1990 notou-se na televisão americana o surgimento de um novo modelo de storytelling, que rompeu convenções para criação de um modelo narrativo que apresenta equilíbrio volátil entre a forma episódica e seriada através de tramas que possuem arcos curtos e longos (MITTELL, 2012). Apesar de apresentar determinadas características concretas, este novo modelo de storytelling ainda se encontra em construção. Adotando como método de pesquisa a análise fílmica, centrada na narrativa aplicada em uma série de TV, o presente estudo busca analisar como a estrutura presente no monomito foi inserida em narrativas complexas com gênero da superaventura para a construção de arcos curtos e longos na trama, tendo em vista que o monomito era, até então, visto somente em narrativas clássicas. A partir da análise da jornada do herói (monomito) na primeira temporada da série Arrow (THE CW TELEVISION NETWORK), o trabalho levanta hipóteses que podem ajudar no estudo da complexidade narrativa.

Müller and Kappelhoff’s Cinematic Metaphor: Experience – Affectivity – Temporality (2018) is the fruit of a collaboration in the Languages and Emotion project, further developed in the Cinepoetics Center for Advanced Film Studies, both based at Freie Universität Berlin, Germany. It proposes a new framework for analyzing metaphor in film that is based on dissatisfaction with (1) Lakoff and Johnson’s (1980) Conceptual Metaphor Theory; (2) cognitivist-oriented applications and adaptations of this theory in the field of multimodality, specifically as operating in film (e.g., Forceville and Urios-Aparisi 2009; Forceville 2006, 2016, 2017; Rohdin 2009; Fahlenbrach 2010, 2016; Coëgnarts and Kravanja 2012, 2015; Ortiz 2011, 2015); and (3) cognitive film scholarship (e.g., Bordwell 1985, 2013; Smith 1995; Plantinga 2009, 2013; Grodal 2009). Given the status of the authors of this monograph, its serious criticism of the aforementioned theories and approaches deserves an equally serious response. This paper can be considered as an extended review of Cinematic Metaphor.

Recientemente, en las academias de filosofía, cine y arte, algunos autores han insistido (Noël Carroll, por ejemplo) en la idea de que el debate sobre la especificidad del medio artístico es una discusión anacrónica y metafísica. Sin embargo, esa crítica ha ignorado argumentos de autores como Lev Manovich (1995) o Guilles Deleuze (1984) que nos han dado razones de peso para reconsiderar, actualizar y profundizar las implicaciones que tiene esta reflexión en el caso del cine. Aquí se presenta una revisión de estos y otros autores para proponer que la categoría de animación es un factor esencial de la mediación artística cinematográfica que no se ha tomado en cuenta principalmente porque los estudios de cine han reducido toda forma de retórica fílmica a las posibilidades del discurso narrativo.


Recently, in academies of philosophy, cinema and art, some authors have been insisted (Noël Carroll, for instance) in the idea that the debate about the specificity of the artistic medium is an anachronistic and metaphysical discussion. However, that criticism has ignored arguments from authors such as Lev Manovich (1995) or Guilles Deleuze (1984) which have given us strong reasons to reconsider, update and deepen the implications of this reflection in the case of cinema. Here is presented a revision of this and other authors in order to suggest that the animation category is an essential factor of the cinematographic artistic mediation that it has not been taken into account mainly because the film studies have reduced every form of film rhetoric to the possibilities of narrative discourse.

Como envolver o conceito de performance em trabalhos que empregam o método da análise fílmica de modo que tanto os estudos de cinema como os estudos de performance se beneficiem com a pesquisa?
Esse texto procura responder a essa pergunta a partir da prática de pesquisa no Programa de Pós-Graduação (Mestrado e Doutorado) em Performances Culturais da Universidade Federal de Goiás (UFG).

Flashback and flashforward, as well as analepsis and prolepsis in the terminology of Gérard Genette, belong to some of the few almost undisputed concepts in narrative theory. But if we dig deeper into their original definitions, we come to re- alize that they appear either vague or as an oversimplification of a more complex issue. In order to add precision to narrative theory’s efforts to analyze time shifts, I propose a distinction between dramatized analepsis, which is synonymous with flashback, and undramatized analepsis, which is not. Dramatized analepsis and flashback are syn- onyms because each involves an enactment of the past, while undramatized analepsis refers to past events but does not involve a real shift from one space-time to another. After looking at how this distinction can illuminate some paradigmatic cases in film and graphic narrative, I consider how these distinctions apply to verbal narratives. In addition, I discuss “fading effects” in verbal narratives, effects that follow from the pro- gressive transition from one space-time to another. Finally, I suggest how these tools can illuminate the handling of temporality in Guy de Maupassant’s The Signal. More generally, this essay contributes to narratological understanding of the intersequential organization of narratives by adding greater precision to Genette’s discussion of ana- lepsis by means of the distinction between dramatized and undramatized analepsis. Methodologically, the essay shows the value of transmedial comparisons, since my case about verbal narrative follows from work on narrative in visual media.

*Senior Yr Undergrad* David Bordwell asserts in his article, “Doing Film History” (2008), that “film history encompasses more than just films,”  and that explanation in film history can be formed based on biographical, industrial/economic, aesthetic, technological, and social/cultural/political grounds.  In fact, these explanations may cut across categorical boundaries as a necessity of their direct connection to societies that made and consumed the films.  Bordwell also states that there is no “Big Story of Film History” and that a film history book will not attain the recognized status of being, “a distillation of all film history.”  Gerald Mast affirmed Bordwell’s conclusions in his own essay, “Film History and Film Histories” (1976) by asserting that an encyclopedic history of film would in fact be an encyclopedia and not a history per se, and that film history is inherently pluralistic.

Mit dem von David Bordwell und Kristin Thompson initiierten Neoformalismus/ Kognitivismus wird einer der meistverbreiteten filmtheoretischen Ansätze vor dem Hintergrund seines Entstehungskontextes dargestellt. Betrachtet werden nacheinander die theoretischen Grundannahmen und die stilistischen und narra- tologischen Konzepte der neoformalistischen Filmanalyse sowie das kognitivis- tische Modell des Filmverstehens und der Filminterpretation. Am Ende werden bekannte Einwände gegen das Paradigma diskutiert und weitere Kritikpunkte formuliert.

Filmlerden örnek karelerin olduğu ayrıntılı versiyon için:

https://www.otekisinema.com/hasan-karacadağin-dabbe-serisinin-cozumlemesi/

Hasan Karacadağ’ın altı filmlik Dabbe serisi, Türkiye’nin en uzun süreli korku filmi serisidir. Seri, 2000’li yıllarda yükselişe geçen cin temalı korku filmlerinin en yüksek izlenme oranlarına sahip örneklerini içerir. Dabbe serisinin anlatıları, dinsel inancı körükler nitelikte bir yapıya sahiptir. Filmlerin biçimsel üslubu görüntülerin ve seslerin deforme edilerek patlatılması yöntemiyle yapılandırılmıştır. Makalede, serinin formunun izleyicilerin algısını manipüle etmesine dair bir yaklaşım geliştirilmiş; filmlerin saldırgan olarak tanımlanan biçimsel yapısını çözümlemek amacıyla, bilişselci ve Deleuzecü yaklaşımlardan ayrı ayrı yararlanılarak bütüncül bir yoruma gidilmiştir. Bunu yaparken, filmlerin biçimsel yapısının psikedelik sinema ve “başkalaşma durumları” ile karşıtlık oluşturacak şekilde “bozulma durumları” yarattığı iddia edilmiştir.

Tous ces effets que tu peux tirer de la répétition (d'une image, d'un son). M'appliquer à des images insignifiantes (non-signifiantes). On ne crée pas en ajoutant, mais en retranchant. Développer est autre chose. (Ne pas étaler.)-Robert Bresson (1) Flowers of Shanghai's (1998) interpretation of these three aesthetic principles-repetition, nonsignifying imagery, and addition by way of subtraction-mark the film as perhaps Hou Hsiao-hsien's most Bressonian effort, at least in its approach to narrative organisation. In Narration in the Fiction Film, David Bordwell describes several narrative forms of which one is termed "parametric narration". Adapting this term from Noel Burch's concept of "parameters", or film techniques, Bordwell moulds it to his end of outlining a "style centered" narrational order, that is, one in which "style [is] promoted to the level of a shaping force in the film" (2). In order to elaborate upon the effects that this form has on the viewer, Bordwell cites E. H. Gombrich, who makes the distinction between "the perception of meaning", associated with representational art, and "the perception of order", linked to decorative and abstract art (3). A parametric film narrative, it is argued, leans the viewer towards the latter. As he develops this point further, Bordwell carefully refutes the commonly held belief that plot (or "syuzhet") and style necessarily have a fixed relation to one another, offering the alternative view that they often waver in their importance in a film with a parametric narration. In fact, at different times elements of such a film's style demonstrate varying levels of "arbitrariness" (4), such that some stylistic choices may not seem to be motivated by the concerns of the plot, whence their "decorative" quality. Tendering the

Neoformalismus? Coby určující pro východiska, postoje, možnosti a vůbec rozpoznávání tzv. neoformalistické filmové analýzy se zpravidla považuje studie z roku 1988 "Jeden přístup, mnoho metod". Ve svém krátkém "úvodovém" článku se vůči této zavedené praxi ostře vymezuji, když vysvětluji, proč je (nejen) s ohledem na práci Kristin Thompsonové důležité rozlišovat mezi neoformalistickou filmovou analýzou jako programem a neoformalistickým filmovým analyzováním jako badatelským postojem.

With extravagantly red-dyed hair and a trashy, punkish look, the title character (Franka Potente) of Run Lola Run runs through the streets of post-wall Berlin to the persistent beat of a conspicuous techno-score. 2 The film not only serves as a textbook example of the 'forking-path' narrative, it has also frequently been used to rehearse the claim that contemporary 'complex narratives' adhere to an underlying classical linear logic. 3 This essay counters such a view on contemporary cinema and attributes instead the linearity discovered by these scholars to the narratological framework they apply. The second part of this essay explores the advantages of adding to our conceptual toolbox a film-philosophical and narratological tool, the 'embodied' fabula, designed to comprehend cinematic narration from the perspective of the actual experience, rather than from the causal-linear reconstruction of its narrative events. The title of this essay is an attempt to encapsulate the governing principle behind this proposed embodied reconceptualization of the fabula. In Cinema 2: The Time-Image, Gilles Deleuze argues that memory has found its proper expression in the time-image. 4 In line with contemporary 'embodied' memory research, 5 Deleuze claims that memories are not stored in our brain, but perform an active structuring of our perception. According to him, cinematic time -images allow us to glimpse the workings of our Bergsonian memory as blending with perceptions, emotions, affects, and cognitions. In this fashion, memories are not located inside our heads, but enact and shape our immediate environment and sense of time. 6 Deleuze expresses this when he poetically writes: "Memory is not in us, it is we who move in a Being-memory, a world-memory". 7 My thesis is that something similar is at stake in contemporary 'puzzle films', 'mind-game' movies, 'neuro-1 The research for this essay has been conducted as part of my doctoral dissertation, Embodying the Fabula: Cinema between the Lines, at Bauhaus-Universität Weimar in Germany and supported by a scholarship from the Graduiertenförderung des Freistaates Thüringen.