Film Narratology Van der Lecq, Stefan; Verstraten, Peter
01/2012
eBook
In Film Narratology , Peter W.J. Verstraten makes film
narratives his primary focus, while noting the unexplored and
essentially different narrative effects that film can produce with
mise-en-scène, ...cinematography, and editing.
In many dictionaries, poetics is defined as “the branch of knowledge that deals with the techniques of poetry” or “the aspect of literary criticism that deals with poetry” (e.g. Oxford English ...Dictionary, accessed 25.9.2020). Within a context of dramaturgy studies, the word is used almost synonymously with the artistic ideology or view of art of the artist (playwright, director, performer etc.) or of the production process, creative method, training regime or institutional framework of theatre and performance. This essay reflects on the complex of problems implied in the concept of poetics, and it suggests a range of research questions to the analysis of poetics in order to delineate and focus the development and dialogue of such studies, especially within the field of dramaturgy.
The first-century Roman tragedies of Seneca, like all ancient drama, do not contain the sort of external stage directions that we are accustomed to today; nevertheless, a careful reading of the plays ...reveals such stage business as entrances, exits, setting, sound effects, emotions of the characters, etc.The Dramaturgy of Senecan Tragedyteases out these dramaturgical elements in Seneca's work and uses them both to aid in the interpretation of the plays and to show the playwright's artistry.
Thomas D. Kohn provides a detailed overview of the corpus, laying the groundwork for appreciating Seneca's techniques in the individual dramas. Each of the chapters explores an individual tragedy in detail, discussing thedramatis personaeand examining how the roles would be distributed among a limited number of actors, as well as the identity of the Chorus.The Dramaturgy of Senecan Tragedymakes a compelling argument for Seneca as an artist and a dramaturg in the true sense of the word: "a maker of drama." Regardless of whether Seneca composed his plays for full-blown theatrical staging, a fictive theater of the mind, or something in between, Kohn demonstrates that he displays a consistency and a careful attentiveness to details of performance. While other scholars have applied this type of performance criticism to individual tragedies or scenes, this is the first comprehensive study of all the plays in twenty-five years, and the first ever to consider not just stagecraft, but also metatheatrical issues such as the significant distribution of roles among a limited number of actors, in addition to the emotional states of the characters. Scholars of classics and theater, along with those looking to stage the plays, will find much of interest in this study.
I det følgende vil jeg forsøge at nærme mig, hvorfor virkelighedsteatret i sig selv er et intrikat begreb, og hvorledes genrens selvforståelse opererer med et sandhedsideal, der har betydning for ...såvel proces, dramaturgens funktion og i sidste ende for interaktionen med publikum.
In the 1970s, Hollywood experienced a creative surge, opening a new era in American cinema with films that challenged traditional modes of storytelling. Inspired by European and Asian art cinema as ...well as Hollywood’s own history of narrative ingenuity, directors such as Martin Scorsese, Robert Altman, William Friedkin, Stanley Kubrick, Woody Allen, and Francis Ford Coppola undermined the harmony of traditional Hollywood cinema and created some of the best movies ever to come out of the American film industry. Critics have previously viewed these films as a response to the cultural and political upheavals of the 1970s, but until now no one has explored how the period’s inventive narrative design represents one of the great artistic accomplishments of American cinema. In Hollywood Incoherent, Todd Berliner offers the first thorough analysis of the narrative and stylistic innovations of seventies cinema and its influence on contemporary American filmmaking. He examines not just formally eccentric films—Nashville; Taxi Driver; A Clockwork Orange; The Godfather, Part II; and the films of John Cassavetes—but also mainstream commercial films, including The Exorcist, The Godfather, The French Connection, Willy Wonka and the Chocolate Factory, Dog Day Afternoon, Chinatown, The Bad News Bears, Patton, All the President’s Men, Annie Hall, and many others. With persuasive revisionist analyses, Berliner demonstrates the centrality of this period to the history of Hollywood’s formal development, showing how seventies films represent the key turning point between the storytelling modes of the studio era and those of modern American cinema.
Anledningen er den stigende interesse for kulturens lydlige sider og i særdeleshed den store opmærksomhed radio og audio drama har fået i de senere år: Vi går i radiobiograf, til radiodramafestival, ...vi lytter til audiodrama som podcast fra de store broadcastere eller fra uafhængige producenter som aldrig før. Hvad mere er, denne "auditive vending" efter mange års visuel dominans slår også igennem i scenedramatikken.
Audiodramaet belyses fra dramaturgiske, mediehistoriske og kulturanalytiske vinkler og artiklerne spænder over emner og genrer som tysk og britisk radiodrama, fan fiction drama, stedsspecifik lyddramatik og improvistation. Dette er et første forsøg på at tegne et felt i sin vorden. Således håber vi at have ydet et bidrag til udviklingen af en fælles fagterminologi og et teoretisk apparat, som kan føre til en mere nuanceret redegørelse for fænomenet audiodramatik.
Behrndt highlights the role of dramaturgy in dance, noting that "attempts at articulating the role and function of the dramaturg could open up new possibilities and further re-articulation." ...Dramaturg Bojana Bauer's suggestion that dramaturgy in dance emphasizes practical concerns, where the nature of dramaturgical practice is discovered through process and dialogue, "has challenged the idea that dramaturgy is a rigid model or universal method that is applied to the work." Behrndt notes that if the migration of dramaturgy into dance has led to discussions on the re-articulation of dramaturgy and the dramaturg, it is the changing nature of dance itself that brings dramaturgy into dance in the first place.
I artiklen af Wenche Larsen: Likestilt dramaturgi. Mot en heterogen estetisk modell foreslås en heterogen dramaturgimodel baseret på tre handlingsbegreber: Aristoteles’ mythos, Erika Fischer- ...Lichtes performativitetsbegreb og Knut Ove Arntzens begreb ‘visuel dramaturgi’. Larsens tre dramaturgiske handlingsbegreber er baseret på verbale, visuelle og fysiske repræsentationsformer. Alle vil kunne være strukturerende i et værk, men ofte vil et fremstå som dominerende.
In this book Robert Thirkell, the international consultant known as 'The TV Troubleshooter' and renowned television producer, sets out a professional toolkit for developing a compelling storyline in ...factual and reality programmes and films.
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