According to conceptual (cognitive) metaphor theory (CMT), there are two basic metaphorical models for conceptualising time in terms of space: the ego-moving model maps our movement through space ...onto our imagined movement through time, while the time-moving model represents time as an entity moving through spatial locations, the ego being just a passive observer. The aim of this article is to investigate how time is conceptualized in film where ego (character), movement, time and space also play basic roles. I compare the two linguistic models to Gilles Deleuze’s conceptualization of filmic time: the movement-image and the time-image. While the movement-image and the moving-ego metaphor directly map spatial structures onto the domain of time, the time-image and the moving-time metaphor correlate only in their basic structures and involve different levels of conceptual integrations and conversions. Due to film techniques such as a mobile camera, montage and image manipulation, the time-image seems to transcend the constraints of natural perception and maps onto mental rather than external space, thus giving rise to a new reverse metaphor where space acquires characteristics of the time domain.
Film space as mental space Dunat, Silvana
Semiotica,
10/2015, Letnik:
2015, Številka:
207
Journal Article
Recenzirano
This paper explores the hypothesis that the three-dimensionality and continuity of film space is a mental construct based on our perception of the images projected on the screen and our knowledge ...of/about the world and our knowledge of/about film. Starting from
1435) visual pyramid as a geometric representation of the vision of a stationary observer, such as a painter, and Gardies’ (1993) mirror ball representing the vision of a dynamic spectator, such as a camera, the paper proposes a new schema aiming to explain how the three spaces – real, virtual, and mental – participate in the construction of film meaning.
This paper deals with multimodal metaphors as the basis of parodic integration in selected videos and album covers by rap artist Krešo Bengalka and his band Kiša metaka. The case studies of parodic ...integration are marked by a spectacle that significantly contributes to the blend. The study focuses on multimodal integration and disintegration and on the reversal of the conventional way of representing both the relation between the interior and exterior and the relation between the static and the dynamic.
Interpretiraju se izdvojeni primjeri višeosjetilnih metafora u spotovima i naslovnicama albuma kojima su predstavljeni rap uradci Kreše Kulašina, poznatog pod umjetničkim imenom Krešo Bengalka, te ...skupine Kiša metaka. Proučavanim se višeosjetilnim metaforama društveni kriticizam ukalupljuje u spektakl kao tipično obilježje gangsta žanra. Analizom izdvojenih primjera upućuje se na konceptualnu integraciju kao jedan od važnih mehanizama proizvodnje parodijskoga odmaka koji je vidljiv u izobličenju konvencionalnih prikaza eksterijera i interijera, statičnosti i dinamičnosti, kao i u kontrastiranju osjetilnih senzacija (auditivnih, vizualnih i verbalnih).
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