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New Media and Narratology in Cinematic Art James Anthony Ricci University of South Florida, [email protected]
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-15-2015 Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art James Anthony Ricci University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Film and Media Studies Commons Scholar Commons Citation Ricci, James Anthony, "Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art" (2015). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/6021 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Now, We Hear Through a Voice Darkly: New Media and Narratology in Cinematic Art by James A. Ricci A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Phillip Sipiora, Ph.D. Margit Grieb, Ph.D. Hunt Hawkins, Ph.D. Victor Peppard, Ph.D. Date of Approval: November 13, 2015 Keywords: New Media, Narratology, Manovich, Bakhtin, Cinema Copyright © 2015, James A. Ricci DEDICATION This dissertation is dedicated to my wife, Ashlea Renée Ricci. Without her unending support, love, and optimism I would have gotten lost during the journey. ACKNOWLEDGMENTS I owe many individuals much gratitude for their support and advice throughout the pursuit of my degree. -
Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
Character Arcs—What About ‗Em?
Photo by Riccardo Romano Contents Character arcs—what about ‗em? .................................................................... 3 Starting and ending the character arc .............................................................. 3 Finding the character arc .................................................................................. 4 Shaping character arcs—the middle ................................................................ 6 Micro character arcs in scenes ......................................................................... 7 Micro character arcs in sequels ....................................................................... 8 Are character arcs necessary? .......................................................................... 9 Character arcs and gender .............................................................................. 10 Everything you ever wanted to know about character arcs .......................... 11 Why characters should arc ............................................................................. 11 Finding your character arc ............................................................................. 12 Developing the character arc ......................................................................... 13 Testing out your character arc beginning ....................................................... 14 The middle of the character arc ...................................................................... 14 Ending the character arc ............................................................................... -
John Caglione, Jr
JOHN CAGLIONE, JR. Make-Up Designer IATSE 798 and 706 FILM BROKEN CITY Personal Make-Up Artist to Russell Crowe Director: Allen Hughes PHIL SPECTOR Personal Make-Up Artist to Al Pacino Director: David Mamet TOWER HEIST Department Head Director: Brett Ratner ON THE ROAD Special Make-Up Effects Director: Walter Salles Cast: Viggo Mortensen THE SMURFS Department Head Director: Raja Gosnell YOU DON’T KNOW JACK Personal Make-Up Artist to Al Pacino Director: Barry Levinson Nominee: Emmy Award for Outstanding Make-Up for a Miniseries or Movie SALT Department Head Director: Philip Noyce STATE OF PLAY Personal Make-Up Artist to Russell Crowe Director: Kevin Macdonald THE DARK KNIGHT Personal Make-Up Artist to Heath Ledger Director: Christopher Nolan Nominee: Academy Award for Best Achievement in Make-Up Nominee: Saturn Award for Best Make-Up 3:10 TO YUMA Personal Make-Up Artist to Russell Crowe Director: James Mangold AMERICAN GANGSTER Personal Make-Up Artist to Russell Crowe Director: Ridley Scott THE DEPARTED Department Head Make-Up and Department Head Effects Make-Up Director: Martin Scorsese Cast: Vera Farmiga, Ray Winstone, Kristen Dalton TENDERNESS Department Head Director: John Polson Cast: Russell Crowe, Laura Dern, Jon Foster, Tonya Clarke THE MILTON AGENCY John Caglione, Jr. 6715 Hollywood Blvd #206, Los Angeles, CA 90028 Make-Up Telephone: 323.466.4441 Facsimile: 323.460.4442 IATSE 798 & 706 [email protected] www.miltonagency.com Page 1 of 4 MY SUPER EX-GIRLFRIEND Department Head Director: Ivan Reitman Cast: Luke Wilson, Anna -
Plot? What Is Structure?
Novel Structure What is plot? What is structure? • Plot is a series of interconnected events in which every occurrence has a specific purpose. A plot is all about establishing connections, suggesting causes, and and how they relate to each other. • Structure (also known as narrative structure), is the overall design or layout of your story. Narrative Structure is about both these things: Story Plot • The content of a story • The form used to tell the story • Raw materials of dramatic action • How the story is told and in what as they might be described in order chronological order • About how, and at what stages, • About trying to determine the key the key conflicts are set up and conflicts, main characters, setting resolved and events • “How” and “when” • “Who,” “what,” and “where” Story Answers These Questions 1. Where is the story set? 2. What event starts the story? 3. Who are the main characters? 4. What conflict(s) do they face? What is at stake? 5. What happens to the characters as they face this conflict? 6. What is the outcome of this conflict? 7. What is the ultimate impact on the characters? Plot Answers These Questions 8. How and when is the major conflict in the story set up? 9. How and when are the main characters introduced? 10.How is the story moved along so that the characters must face the central conflict? 11.How and when is the major conflict set up to propel them to its conclusion? 12.How and when does the story resolve most of the major conflicts set up at the outset? Basic Linear Story: Beginning, Middle & End Ancient (335 B.C.)Greek philosopher and scientist, Aristotle said that every story has a beginning, a middle, and an end. -
Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours
i Being a Superhero is Amazing, Everyone Should Try It: Relationality and Masculinity in Superhero Narratives Kevin Lee Chiat Bachelor of Arts (Communication Studies) with Second Class Honours This thesis is presented for the degree of Doctor of Philosophy of The University of Western Australia School of Humanities 2021 ii THESIS DECLARATION I, Kevin Chiat, certify that: This thesis has been substantially accomplished during enrolment in this degree. This thesis does not contain material which has been submitted for the award of any other degree or diploma in my name, in any university or other tertiary institution. In the future, no part of this thesis will be used in a submission in my name, for any other degree or diploma in any university or other tertiary institution without the prior approval of The University of Western Australia and where applicable, any partner institution responsible for the joint-award of this degree. This thesis does not contain any material previously published or written by another person, except where due reference has been made in the text. This thesis does not violate or infringe any copyright, trademark, patent, or other rights whatsoever of any person. This thesis does not contain work that I have published, nor work under review for publication. Signature Date: 17/12/2020 ii iii ABSTRACT Since the development of the superhero genre in the late 1930s it has been a contentious area of cultural discourse, particularly concerning its depictions of gender politics. A major critique of the genre is that it simply represents an adolescent male power fantasy; and presents a world view that valorises masculinist individualism. -
The Narrative Structure Booklet
ACT 1 The opening of a narrative typically establishes characters, setting, themes and engages the audience. It features a catalyst that sends the character on their journey. By the end of the Act 1, the main character reaches a turning point where they commit to the action. o Establishing genre and tone. The opening of a narrative plays an important role in establishing genre and tone. When filmmakers establish genre, they enter into a contract with the audience. If a narrative doesn’t deliver on the promise of genre, the audience will be dissatisfied and disappointed. In a horror film, for example, expects suspense, a few scares and a hefty dose of gore. Anyone who has ever seen a film that is too formulaic or cliched will understand how tedious slavishly following genre conventions can be. o Establishing character. All stories are about a character trying to achieve a goal. Narratives always establish characters – their traits, motivation and goals – within the first act. To become involved in a story, the audience needs to know who the characters are and what they want. Establishing character also means establishing their flaws. Characters always change. Screenwriters often refer to this change as a ‘character arc’. As noted in Writing Movies: “Another mark of protagnoists is their ability change. In pursuing their goals, protagonists meet obstacles that force them to adjust and adapt and, in turn, they grow or transform in some way. This progression is called an arc.” o Establishing setting. The first act of a narrative also establishes the setting. The setting is where the narrative unfolds. -
Pixar's 22 Rules of Story Analyzed
PIXAR’S 22 RULES OF STORY (that aren’t really Pixar’s) ANALYZED By Stephan Vladimir Bugaj www.bugaj.com Twitter: @stephanbugaj © 2013 Stephan Vladimir Bugaj This free eBook is not a Pixar product, nor is it endorsed by the studio or its parent company. Introduction. In 2011 a former Pixar colleague, Emma Coats, Tweeted a series of storytelling aphorisms that were then compiled into a list and circulated as “Pixar’s 22 Rules Of Storytelling”. She clearly stated in her compilation blog post that the Tweets were “a mix of things learned from directors & coworkers at Pixar, listening to writers & directors talk about their craft, and via trial and error in the making of my own films.” We all learn from each other at Pixar, and it’s the most amazing “film school” you could possibly have. Everybody at the company is constantly striving to learn new things, and push the envelope in their own core areas of expertise. Sharing ideas is encouraged, and it is in that spirit that the original 22 Tweets were posted. However, a number of other people have taken the list as a Pixar formula, a set of hard and fast rules that we follow and are “the right way” to approach story. But that is not the spirit in which they were intended. They were posted in order to get people thinking about each topic, as the beginning of a conversation, not the last word. After all, a hundred forty characters is far from enough to serve as an “end all and be all” summary of a subject as complex and important as storytelling. -
A Sequence of Possibilities
A Sequence of Possibilities Constructive fictions, quantum authoring, and the search for an ideal story system A thesis paper submitted in partial satisfaction of the requirements for the degree of Masters of Fine Arts in Digital Arts and New Media University of California Santa Cruz by Aaron A. Reed June 2011 [Edition 1: June 9, 2011] ABSTRACT The rise of the interactive story over the past few decades has presented the- orists and authors with a number of significant conceptual challenges, among the most foundational of which is the question of how to produce compelling experi- ences with nondeterministic and participatory narratives. While some preliminary attempts at creating taxonomies to catalogue the space of interactive stories have been advanced, there is still a confusion in both terminology and practice of what to call and how to understand the interactive story. I propose to define a particular subset of interactive story which I find most fascinating, the story system, a machine that enacts an ergodic multi-form story using procedures to both vary the narrative and encourage complete traversals. I profile several existing story systems, includ- ing 1893: A World’s Fair Mystery, Echo Bazaar, and Balance of Power: 21st Cen- tury. I then discuss a set of experimental interactive narratives I created or helped author content for as part of my MFA thesis work, discussing both how they func- tion in relation to existing paradigms such as interactive fiction and hypermedia, and how they relate to the new concept of the story system. Several insights arose out of these experiments, including the concept of quantum authoring, where au- thors must keep a number of possible story states superimposed in their heads while creating content, and the need for better tools and high-level systems for authoring and managing procedurally narrative stories. -
80S 90S Hand-Out
FILM 160 NOIR’S LEGACY 70s REVIVAL Hickey and Boggs (Robert Culp, 1972) The Long Goodbye (Robert Altman, 1973) Chinatown (Roman Polanski, 1974) Night Moves (Arthur Penn, 1975) Farewell My Lovely (Dick Richards, 1975) The Drowning Pool (Stuart Rosenberg, 1975) The Big Sleep (Michael Winner, 1978) RE- MAKES Remake Original Body Heat (Lawrence Kasdan, 1981) Double Indemnity (Billy Wilder, 1944) Postman Always Rings Twice (Bob Rafelson, 1981) Postman Always Rings Twice (Garnett, 1946) Breathless (Jim McBride, 1983) Breathless (Jean-Luc Godard, 1959) Against All Odds (Taylor Hackford, 1984) Out of the Past (Jacques Tourneur, 1947) The Morning After (Sidney Lumet, 1986) The Blue Gardenia (Fritz Lang, 1953) No Way Out (Roger Donaldson, 1987) The Big Clock (John Farrow, 1948) DOA (Morton & Jankel, 1988) DOA (Rudolf Maté, 1949) Narrow Margin (Peter Hyams, 1988) Narrow Margin (Richard Fleischer, 1951) Cape Fear (Martin Scorsese, 1991) Cape Fear (J. Lee Thompson, 1962) Night and the City (Irwin Winkler, 1992) Night and the City (Jules Dassin, 1950) Kiss of Death (Barbet Schroeder 1995) Kiss of Death (Henry Hathaway, 1947) The Underneath (Steven Soderbergh, 1995) Criss Cross (Robert Siodmak, 1949) The Limey (Steven Soderbergh, 1999) Point Blank (John Boorman, 1967) The Deep End (McGehee & Siegel, 2001) Reckless Moment (Max Ophuls, 1946) The Good Thief (Neil Jordan, 2001) Bob le flambeur (Jean-Pierre Melville, 1955) NEO - NOIRS Blood Simple (Coen Brothers, 1984) LA Confidential (Curtis Hanson, 1997) Blue Velvet (David Lynch, 1986) Lost Highway (David -
Portraits of America DEMOCRACY on FILM
The Film Foundation’s Story of Movies Presents With support from AFSCME A PROFESSIONAL DEVELOPMENT WORKSHOP ON FILM AND VISUAL LITERACY FOR CLASSROOM EDUCATORS ACROSS ALL DISCIPLINES, GRADES 5 – 12 Portraits of America DEMOCRACY ON FILM 2018 WORKSHOPS August 6 & 7 Breen Center for the Performing Arts, 2008 W 30th Street, Cleveland, OH 44113 August 14 & 15 Lightbox Film Center inside International House Philadelphia 3701 Chestnut Street Philadelphia, PA 19104 October 3 & 4 Detroit Institute of Arts, 5200 Woodward Ave., Detroit, MI 48202 WHO & WHAT This FREE two-day seminar introduces educators to an interdisciplinary curriculum that challenges students to think contextually about the role of film as an expression of American democracy. SCREENING AND DISCUSSION ACTIVITIES FOCUS ON STRATEGIES TO: N Increase civic engagement by developing students’ critical viewing and thinking skills. N Give students the tools to understand the persuasive and universal language of moving images, a significant component ofvisual literacy. N Explore the social issues and diverse points of view represented in films produced in different historical periods. MORNING AND AFTERNOON WORKSHOPS FOCUS ON LEARNING HOW TO READ A FILM, PRINCIPLES OF CINEMA LITERACY, AND INTERPRETING FILM IN HISTORICAL/CULTURAL CONTEXTS. N Handout materials include screening activities and primary source documents to support and enhance students’ critical thinking skills. N Evening screenings showcase award-winning films, deemed historically and culturally significant by the Library of Congress National Film Registry. N Lunch is provided for registered participants. HOW & WHEN TO REGISTER CLASSROOM CAPACITY IS LIMITED, SO EARLY REGISTRATION IS ENCOURAGED. Continuing Education Credits may be supported by local school districts for this program. -
Judas As Tragic Hero in Film
Journal of Religion & Film Volume 8 Issue 3 October 2004 Article 3 October 2004 Servant of the Story: Judas as Tragic Hero in Film Kaile Shilling [email protected] Follow this and additional works at: https://digitalcommons.unomaha.edu/jrf Recommended Citation Shilling, Kaile (2004) "Servant of the Story: Judas as Tragic Hero in Film," Journal of Religion & Film: Vol. 8 : Iss. 3 , Article 3. Available at: https://digitalcommons.unomaha.edu/jrf/vol8/iss3/3 This Article is brought to you for free and open access by DigitalCommons@UNO. It has been accepted for inclusion in Journal of Religion & Film by an authorized editor of DigitalCommons@UNO. For more information, please contact [email protected]. Servant of the Story: Judas as Tragic Hero in Film Abstract Judas is perhaps best defined and best understood through mythic mediums such as story and film, as opposed to historical, scriptural studies that adhere strictly to the gospel texts alone. Judas, as seen in story and film, is not estrictedr to or defined exclusively by a series of actions that characterize him as a villain. Rather, especially in filmic depictions, he shifts from a villain to a tragic hero, and as such, allows for a fuller discussion of the various influences and choices with which Judas may have been faced than is possible in the genre of gospel text. This article is available in Journal of Religion & Film: https://digitalcommons.unomaha.edu/jrf/vol8/iss3/3 Shilling: Servant of the Story Judas Iscariot, the betrayer of Jesus Christ, the thief, the sinner, the conniving, hunched over, sinister, red-haired, selfish man, the one who sold out the Messiah for thirty pieces of silver, is perhaps the most loathed person in history.