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Impossible puzzle films : a cognitive approach to contemporary complex cinema / / Miklós Kiss and Steven Willemsen
| Impossible puzzle films : a cognitive approach to contemporary complex cinema / / Miklós Kiss and Steven Willemsen |
| Autore | Kiss Miklós (College teacher) |
| Pubbl/distr/stampa | Edinburgh, [Scotland] : , : Edinburgh University Press, , 2017 |
| Descrizione fisica | 1 online resource : illustrations (black and white) |
| Disciplina | 791.43684 |
| Soggetto topico |
Motion pictures - Philosophy
Narration (Rhetoric) |
| ISBN |
1-4744-3047-3
1-4744-0674-2 1-4744-0673-4 |
| Classificazione | AP 45200 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | Frontmatter -- Contents -- Acknowledgements -- Introduction -- I.1 In this book -- Chapter 1 Contemporary Complex Cinema -- 1.1 Complex conditions: the resurgence of narrative complexity -- 1.2 Complex cinema as brain-candy for the empowered viewer -- 1.3 Narrative taxonomies: simple, complex, puzzle plots -- Chapter 2 Cognitive Approach to Contemporary Complex Cinema -- 2.1 Why an (embodied-)cognitive approach? -- 2.2 Various forms of complexity and their effects on sense-making -- 2.3 A cognitive approach to classifying complexity -- Chapter 3 Narrative Complexity and Dissonant Cognitions -- 3.1 The concept of cognitive dissonance -- 3.2 Cognitions in dissonance: from social psychology to narrative engagement -- 3.3 Types of dissonance in narrative comprehension -- 3.4 Cognitive access to impossible storyworlds: immersed and reflected operations -- 3.5 ‘Impossibilities’ and embodied cognition -- Chapter 4 Taming Dissonance: Cognitive Operations and Interpretive Strategies -- 4.1 Cognitive dissonance versus narrative coherence -- 4.2 Reducing dissonance: interpretation and naturalisation -- 4.3 Coping with dissonance: frame-switches and poetic and aesthetic readings -- 4.4 Frame-switching as hermeneutic play in impossible puzzle films -- Chapter 5 Impossible Puzzle Films: Between Art Cinema and (Post-)Classical Narration -- 5.2 Impossible puzzle films and (post-)classical narration -- Chapter 6 Wallowing in Dissonance: The Attractiveness of Impossible Puzzles -- 6.1 Hermeneutic play and interpretive multiplicity -- 6.2 Orientation, navigation, mapping -- 6.3 Game logic and the fascination in failure -- 6.4 Effort justification -- 6.5 Diegetisation of decoupling -- 6.6 Fascination in infinity -- 6.7 Destabilised ontological certainty -- 6.8. Eudaimonic motivations and intrinsic needs -- References -- Filmography -- Index |
| Record Nr. | UNINA-9910792834803321 |
Kiss Miklós (College teacher)
|
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| Edinburgh, [Scotland] : , : Edinburgh University Press, , 2017 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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Impossible puzzle films : a cognitive approach to contemporary complex cinema / / Miklós Kiss and Steven Willemsen
| Impossible puzzle films : a cognitive approach to contemporary complex cinema / / Miklós Kiss and Steven Willemsen |
| Autore | Kiss Miklós (College teacher) |
| Pubbl/distr/stampa | Edinburgh, [Scotland] : , : Edinburgh University Press, , 2017 |
| Descrizione fisica | 1 online resource : illustrations (black and white) |
| Disciplina | 791.43684 |
| Soggetto topico |
Motion pictures - Philosophy
Narration (Rhetoric) |
| ISBN |
1-4744-3047-3
1-4744-0674-2 1-4744-0673-4 |
| Classificazione | AP 45200 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | Frontmatter -- Contents -- Acknowledgements -- Introduction -- I.1 In this book -- Chapter 1 Contemporary Complex Cinema -- 1.1 Complex conditions: the resurgence of narrative complexity -- 1.2 Complex cinema as brain-candy for the empowered viewer -- 1.3 Narrative taxonomies: simple, complex, puzzle plots -- Chapter 2 Cognitive Approach to Contemporary Complex Cinema -- 2.1 Why an (embodied-)cognitive approach? -- 2.2 Various forms of complexity and their effects on sense-making -- 2.3 A cognitive approach to classifying complexity -- Chapter 3 Narrative Complexity and Dissonant Cognitions -- 3.1 The concept of cognitive dissonance -- 3.2 Cognitions in dissonance: from social psychology to narrative engagement -- 3.3 Types of dissonance in narrative comprehension -- 3.4 Cognitive access to impossible storyworlds: immersed and reflected operations -- 3.5 ‘Impossibilities’ and embodied cognition -- Chapter 4 Taming Dissonance: Cognitive Operations and Interpretive Strategies -- 4.1 Cognitive dissonance versus narrative coherence -- 4.2 Reducing dissonance: interpretation and naturalisation -- 4.3 Coping with dissonance: frame-switches and poetic and aesthetic readings -- 4.4 Frame-switching as hermeneutic play in impossible puzzle films -- Chapter 5 Impossible Puzzle Films: Between Art Cinema and (Post-)Classical Narration -- 5.2 Impossible puzzle films and (post-)classical narration -- Chapter 6 Wallowing in Dissonance: The Attractiveness of Impossible Puzzles -- 6.1 Hermeneutic play and interpretive multiplicity -- 6.2 Orientation, navigation, mapping -- 6.3 Game logic and the fascination in failure -- 6.4 Effort justification -- 6.5 Diegetisation of decoupling -- 6.6 Fascination in infinity -- 6.7 Destabilised ontological certainty -- 6.8. Eudaimonic motivations and intrinsic needs -- References -- Filmography -- Index |
| Record Nr. | UNINA-9910827274503321 |
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Kiss Miklós (College teacher)
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| Edinburgh, [Scotland] : , : Edinburgh University Press, , 2017 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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Telecinematic discourse : approaches to the language of films and television series / / edited by Roberta Piazza, Monika Bednarek, Fabio Rossi
| Telecinematic discourse : approaches to the language of films and television series / / edited by Roberta Piazza, Monika Bednarek, Fabio Rossi |
| Edizione | [1st ed.] |
| Pubbl/distr/stampa | Amsterdam ; ; Philadelphia, : John Benjamins Pub. Company, 2011 |
| Descrizione fisica | xi, 315 p. : ill |
| Disciplina | 302.23/45 |
| Altri autori (Persone) |
PiazzaRoberta
BednarekMonika <1977-> RossiFabio <1967-> |
| Collana | Pragmatics & beyond new series |
| Soggetto topico |
Television broadcasting - Language
Dialogue in motion pictures Discourse analysis |
| ISBN |
9786613174819
9781283174817 1283174812 9789027285157 9027285152 |
| Classificazione | AP 45200 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Telecinematic Discourse -- Editorial page -- Title page -- LCC data -- Table of contents -- Contributors -- 1. Introduction -- Part I. Cinematic discourse -- 2. Discourse analysis of film dialogues -- 1. Introduction -- 2. Film dialogue and dubbing -- 3. Film analysis -- 3.1 Fluency -- 3.2 Discourse markers and verbal tenses -- 3.3 Allocution -- 3.4 Repetition and other discourse and rhetorical strategies -- 3.5 Glosses -- 3.6 The telephone -- 3.7 Avoided overlapping -- 4. A contemporary example -- 5. Conclusions -- 3. Using film as linguistic specimen -- 1. Introduction -- 2. Films as "artifacts" and "specimens" -- 2.1 The status of films as linguistic artifacts -- 2.2 The status of film dialogues as linguistic artifacts -- 3. The problems of "incorporating" film dialogue -- 3.1 Scope of the problem -- 3.2 Films as social artifacts -- 3.3 Films as artistic artifacts -- 3.4 Filmmaking and its impact on filmspeak -- 4. Using film as linguistic specimen: The advantages -- 4.1 Production as imprimatur -- 4.2 The heuristic value of language dramatisation -- 4.3 A workbench for quantitative hypotheses? -- 4.4 The good, the bad and the ugly specimen -- 5. Conclusions -- 4. Multimodal realisations of mind style in Enduring Love -- 1. Introduction -- 2. Mind style: Verbal realisations -- 3. Mind style: Multimodal realisations -- 4. Conclusion -- 5. Pragmatic deviance in realist horror films -- 1. Introduction -- 2. The context of the study. The notion of deviance in killers' discourse -- 3. Methodological framework and choice of data -- 4. The analysis of linguistic and visual deviance -- 4.1 The opening of horror films -- 4.2 Later stages in the narrative -- 4.3 Beyond Italian cinema -- 5. Conclusions -- 6. Emotion and empathy in Martin Scorsese's Goodfellas -- 1. Introduction -- 2. Goodfellas -- 2.1 The "funny guy" scene.
3. A multimodal analysis of the "funny guy" scene -- 3.1 Discoursal interaction -- 3.2 Paralinguistic and non-linguistic elements of the scene -- 4. Audio-visual transcript of "funny guy" scene -- 5. Conclusions -- 7. Quantifying the emotional tone of James Bond films -- 1. Introduction -- 2. Quantifying emotion -- 3. The James Bond film series -- 4. DAL analysis -- 5. Summary and future directions -- 8. Structure and function in the generic staging of film trailers -- 1. Introduction -- 2. The interdisciplinary methodological framework and data -- 3. Types of generic stages -- 3.1 Types of implicit promotional stages -- 3.2 Types of explicit promotional stages -- 4. Conclusions -- Part II. Televisual discourse -- 9. "I don't know what they're saying half the time, but I'm hooked on the series" -- 1. Introduction -- 2. The Wire: An overview -- 3. Measuring comprehensibility -- 4. Test materials -- 4.1 State of Play -- 5. Scripted repetition as aid to comprehension -- 6. The multimodal integration of the dialogue -- 7. Conclusions -- Appendix -- 10. The stability of the televisual character -- 1. Introduction -- 2. The "stable" televisual character -- 3. A corpus stylistic study of characterisation -- 3.1 Corpora used in this study -- 3.2 Key word/cluster analysis -- 4. Characterisation in Gilmore Girls: A corpus stylistic case study -- 4.1 Lorelai: An example of a "stable" televisual character? -- 4.2 Diachronic character stability re-visited -- 4.3 Intersubjective stability re-visited -- 5. Conclusions -- 11. Star Trek: Voyager's Seven of nine -- 1. Introduction -- 2. Negative politeness -- 3. Positive politeness -- 4. Repairing interpersonal rifts -- 5. Conclusions -- 12. Relationship impression formation -- 1. Introduction -- 2. Friendship -- 3. Relationship impression formation -- 4. Recognising friendship through talk -- 4.1 Alignment. 4.2 Shifting and diverging alignments in Sex and the City -- 5. Conclusions -- 13. Genre, performance and Sex and the City -- 1. Introduction -- 2. Sex and the City: A description of the series -- 3. Gender, performance, performativity -- 4. The genre of casual conversation and its use in Sex and the City -- 5. The performance of gender in Sex and the City -- 6. Sex and the City and the creation and mediation of femininity -- 7. Conclusions -- 14. Bumcivilian -- 1. Introduction -- 2. Manipulating the language system for humour - examples -- 2.1 Phonetics/phonology -- 2.2 Morphology/lexicon -- 2.3 Syntax -- 2.4 Semantics -- 2.5 Varieties -- 2.6 Text/discourse -- 3. Systemic or non-systemic use - levels and carriers -- 4. When comedy enters our language system -- 5. Conclusions -- References -- List of tables -- List of figures -- Index of films and TV series -- Index. |
| Record Nr. | UNINA-9910958767803321 |
| Amsterdam ; ; Philadelphia, : John Benjamins Pub. Company, 2011 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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Toward a structural psychology of cinema / / John M. Carroll
| Toward a structural psychology of cinema / / John M. Carroll |
| Autore | Carroll John M (John Millar), <1950-> |
| Edizione | [Reprint 2011] |
| Pubbl/distr/stampa | The Hague ; ; New York, : Mouton, 1980 |
| Descrizione fisica | 1 online resource (240 pages) : figures |
| Disciplina |
791.43/01
791.4301 |
| Collana | Approaches to Semiotics [AS] |
| Soggetto topico |
Motion pictures - Philosophy
Semiotics |
| ISBN | 3-11-082561-9 |
| Classificazione | AP 45200 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto | Front matter -- CHAPTER 1: INTRODUCTION -- CHAPTER 2: RECURRENT PROBLEMS IN CINEMA THEORY -- CHAPTER 3: FILM AS LANGUAGE -- CHAPTER 4: A LINGUISTIC APPROACH TO CINEMA THEORY -- CHAPTER 5: TRANSFORMATIONAL-GENERATIVE CINEMA GRAMMAR -- CHAPTER 6: DELETION AS A CASE STUDY -- CHAPTER 7: ACTIONS AND SHOTS AS PSYCHOLOGICAL UNITS -- CHAPTER 8: THE PLACE OF CINEMA GRAMMAR IN CINEMA THEORY -- CHAPTER 9: EPILOGUE -- APPENDIX: DESCRIPTIONS OF EXPERIMENTAL SCENES FOR EXPERIMENTS 1 AND 2 -- REFERENCES |
| Record Nr. | UNINA-9910785812203321 |
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Carroll John M (John Millar), <1950->
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| The Hague ; ; New York, : Mouton, 1980 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
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