Narrative Encoding for Computational Reasoning and Adaptation

Total Page:16

File Type:pdf, Size:1020Kb

Narrative Encoding for Computational Reasoning and Adaptation UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Narrative Encoding for Computational Reasoning and Adaptation Permalink https://escholarship.org/uc/item/7jc9r478 Author Harmon, Sarah Publication Date 2017 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ NARRATIVE ENCODING FOR COMPUTATIONAL REASONING AND ADAPTATION A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in COMPUTER SCIENCE by Sarah M. Harmon March 2017 The Dissertation of Sarah M. Harmon is approved: Professor Arnav Jhala, Chair Professor Michael Mateas Jill Denner, PhD Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright c by Sarah M. Harmon 2017 Contents List of Figures vii List of Tables viii Abstract ix Dedication xi Acknowledgments xii 1 Introduction 1 1.1 How Stories Transform Us . .3 1.2 Problem . .5 1.3 Contributions . .6 1.4 Outline . .8 2 Theoretical Foundations 9 2.1 Cognitive and Social Psychology . .9 2.1.1 Levels of Discourse Comprehension . .9 2.1.2 Narrative Interpretation . 12 2.2 Computational Models . 13 2.2.1 Narrative Functions . 13 2.2.2 Grammars . 13 2.2.3 Frames . 14 2.2.4 Plot Units . 15 2.2.5 Specialized Partial Models . 16 2.2.6 Formal Ontologies . 17 2.2.7 Surface-Level Adaptation . 20 2.3 Discussion . 21 iii 3 Case Study: Story Intention Graphs for Narrative Reasoning 22 3.1 Creative Story Generation . 23 3.1.1 Event Ordering . 24 3.1.2 Node Construction . 24 3.1.3 Chain Construction . 25 3.1.4 Results . 26 3.1.5 Reflection . 27 3.2 Measuring Narrative Complexity . 28 3.2.1 The Automated INC Scoring Process . 29 3.2.2 Character . 30 3.2.3 Setting . 30 3.2.4 Initiating Event . 31 3.2.5 Internal Response . 31 3.2.6 Plan . 32 3.2.7 Action/Attempt . 32 3.2.8 Complication . 33 3.2.9 Consequence . 33 3.2.10 Formulaic Markers . 34 3.2.11 Temporal Markers . 34 3.2.12 Causal Adverbial Clauses . 34 3.2.13 Knowledge of Dialogue . 35 3.2.14 Evaluation . 36 3.2.15 Reflection . 36 3.3 Discussion . 37 4 The Rensa Framework 39 4.1 Goals . 39 4.2 Framework Overview . 41 4.3 Querying Brains . 41 4.4 Bridge to Formal Logic . 42 4.5 Surface Realization . 43 4.6 Automated Visualization . 43 4.7 Summary . 44 5 SimpREL: A Simple Rensa Encoding Method 46 5.1 Encoding with Rensa . 46 5.2 Relations . 48 5.3 Basic Concepts . 51 5.4 Attributes . 53 5.4.1 Common Attributes for Actions and Conditions . 53 5.4.2 Story Attributes . 55 5.4.3 Belief Attributes . 56 5.4.4 Miscellaneous Attributes . 57 iv 5.5 The Empty Slot Variable . 57 5.6 Referencing Other Assertions . 60 5.7 Logic Support . 60 5.8 Automated Extraction Support . 61 5.9 Discussion . 70 6 Support for Existing Representations 71 6.1 Grammars . 71 6.1.1 Story Grammars . 71 6.1.2 Universal Dependencies . 73 6.1.3 DSyntS . 74 6.2 Frame-Based Models . 75 6.3 Plot Unit Representations . 76 6.3.1 Bremond's Approach . 76 6.3.2 Plot Units . 77 6.3.3 Doxastic Preference Frameworks (DPFs) . 77 6.3.4 Story Intention Graphs (SIGs) . 78 6.4 Narrative Event Chains (NECs) . 79 6.5 Social Graphs . 79 6.6 Bartalesi's Ontology and OWL . 80 6.7 ConceptNet . 81 6.8 Game-o-Matic . 82 6.9 Discussion . 83 7 Narrative Simplification 84 7.1 The Index of Narrative Complexity . 85 7.2 Narrative Simplification with Rensa . 88 7.2.1 Characters . 88 7.2.2 Complications . 89 7.3 Discussion . 90 8 Existing Applications 93 8.1 Fairy Tale Adaptation . 93 8.2 Game Generation . 95 8.3 Dilemma Generation . 96 9 Conclusion 100 9.1 Summary . 100 9.2 Future Work . 101 9.3 Closing Remarks . 104 Bibliography 106 v A Key SimpREL Examples 125 A.1 States . 125 A.2 Beliefs . 127 A.3 Goals and Intentions . 128 A.4 Imperatives . 129 B SimpREL Encodings that Demonstrate Support for Existing Repre- sentations 132 B.1 The Classic Schankian Restaurant Script . 132 B.2 DPF Analysis of Engagement ........................ 141 B.3 SIG Analysis of The Wily Lion ....................... 144 vi List of Figures 3.1 A SIG encoding derived from Amelia's Story . 25 3.2 Alternate tellings of Amelia's Story . 26 3.3 An excerpt from Deadeye Dick ....................... 27 4.1 A screenshot of Rensa's story authoring interface . 44 5.1 Example relation extraction with FRED . 63 5.2 Using Rensa to predict actor roles . 68 6.1 Example SimpREL concept mapping for a Game-o-Matic micro-rhetoric 82 7.1 Using Rensa to identify narrative complications . 87 8.1 Using Rensa to visualize game mechanics . 97 B.1 DPF game tree of Engagement ....................... 142 B.2 SIG analysis of The Wily Lion ....................... 145 vii List of Tables 2.1 A comparison of narrative model philosophies . 16 2.2 Thirteen primitive relations for temporal intervals . 19 3.1 Evaluation of the automated narrative complexity assessment system . 35 5.1 Classic SimpREL relation types . 48 5.2 Example SimpREL variable relations of the form has x .......... 49 5.3 Example SimpREL discourse relations . 51 5.4 SimpREL attributes to specify action . 54 5.5 SimpREL attributes to specify place, time, and amount . 55 5.6 A comparison of relation extraction tools . 63 5.7 Results of actor role prediction . 69 viii Abstract Narrative Encoding for Computational Reasoning and Adaptation.
Recommended publications
  • A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012)
    Copyright by Taehyun Cho 2014 The Thesis Committee for Taehyun Cho Certifies that this is the approved version of the following thesis: A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012) APPROVED BY SUPERVISING COMMITTEE: Supervisor: Charles R. Berg Thomas G. Schatz A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989−2012) by Taehyun Cho, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2014 Dedication To my family who teaches me love. Acknowledgements I would like to give special thanks to my advisor, Professor Berg, for his intellectual guidance and warm support throughout my graduate years. I am also grateful to my thesis committee, Professor Schatz, for providing professional insights as a scholar to advance my work. v Abstract A Study of Hypernarrative in Fiction Film: Alternative Narrative in American Film (1989-2012) Taehyun Cho, M.A. The University of Texas at Austin, 2014 Supervisor: Charles R. Berg Although many scholars attempted to define and categorize alternative narratives, a new trend in narrative that has proliferated at the turn of the 21st century, there is no consensus. To understand recent alternative narrative films more comprehensively, another approach using a new perspective may be required. This study used hypertextuality as a new criterion to examine the strategies of alternative narratives, as well as the hypernarrative structure and characteristics in alternative narratives. Using the six types of linkage patterns (linear, hierarchy, hypercube, directed acyclic graph, clumped, and arbitrary links), this study analyzed six recent American fiction films (between 1989 and 2012) that best represent each linkage pattern.
    [Show full text]
  • The Models of Space, Time and Vision in V. Nabokov's Fiction
    Tartu Semiotics Library 5 2 THE MODELS OF SPACE, TIME AND VISION Tartu Semiootika Raamatukogu 5 Тартуская библиотека семиотики 5 Ruumi, aja ja vaate mudelid V. Nabokovi proosas: Narratiivistrateegiad ja kultuurifreimid Marina Grišakova Mодели пространства, времени и зрения в прозе В. Набокова: Нарративные стратегии и культурные фреймы Марина Гришакова University of Tartu The Models of Space, Time and Vision in V. Nabokov’s Fiction: Narrative Strategies and Cultural Frames Marina Grishakova Tartu 2012 4 THE MODELS OF SPACE, TIME AND VISION Edited by Silvi Salupere Series editors: Peeter Torop, Kalevi Kull, Silvi Salupere Address of the editorial office: Department of Semiotics University of Tartu Jakobi St. 2 Tartu 51014, Estonia http://www.ut.ee/SOSE/tsl.htm This publication has been supported by Cultural Endowment of Estonia Department of Literature and the Arts, University of Tampere Cover design: Inna Grishakova Aleksei Gornõi Rauno Thomas Moss Copyright University of Tartu, 2006 ISSN 2228-2149 (online) ISBN 978-9949-32-068-4 (online) Second revised edition available online only. ISSN 1406-4278 (print) ISBN 978–9949–11–306–4 (2006 print edition) Tartu University Press www.tyk.ee In memory of Yuri Lotman, the teacher 6 THE MODELS OF SPACE, TIME AND VISION Table of Contents Acknowledgements ................................................................... 9 Introduction ............................................................................... 11 I. Models and Metaphors..........................................................
    [Show full text]
  • Reading Between the Lines
    Reading Between the Lines A Narratological Approach to the Deir Alla Inscription Combination I Alexandra Wrathall B.A, (Macquarie University) Submitted in fulfilment of the requirements for the degree of Masters of Research Department of Ancient History, Faculty of Arts Macquarie University, Sydney October 2014. For my mother Patricia and my father Garry. My very first storytellers Thank you for gifting me with the imagination to dream, the courage to pursue and the means to achieve. and To Dr. Stephen Llewelyn, my mentor. Who saw something in me before I saw it myself. For regular meetings and discussions that have formed the highlight of my week, every week, for five years. Your guidance, knowledge and shared passion for the ancient and theoretical are what made this work a reality. Contents Table of Contents Abstract ........................................................................................................................... iii Declaration ...................................................................................................................... iv Acknowledgements .......................................................................................................... v Chapter I ............................................................................................................................... 1 Introduction .......................................................................................................................... 1 1.1 Narratology ................................................................................................................
    [Show full text]
  • A Glossary of New Testament Narrative Criticism with Illustrations
    religions Article A Glossary of New Testament Narrative Criticism with Illustrations James L. Resseguie Winebrenner Theological Seminary, Findlay, OH 45840, USA; resseguiej@findlay.edu Received: 10 February 2019; Accepted: 15 March 2019; Published: 21 March 2019 Abstract: This is the first stand-alone glossary of New Testament narrative-critical terms in the English language. It is an alphabetical listing of prominent terms, concepts, and techniques of narrative criticism with illustrations and cross-references. Commonly used terms are defined and illustrated, these include character, characterization, double entendre, misunderstanding, implied author, implied reader, irony, narrator, point of view, plot, rhetoric, and other constitutive elements of a narrative. Lesser-known terms and concepts are also defined, such as carnivalesque, composite character, defamiliarization, fabula, syuzhet, hybrid character, MacGuffin, masterplot, primacy/recency effect, and type-scene. Major disciplines—for example, narratology, New Criticism, and reader-response criticism—are explained with glances at prominent literary critics/theorists, such as Aristotle, Mikhail Bakhtin, Wayne Booth, Seymour Chatman, Stanley Fish, E. M. Forster, Gérard Genette, Wolfgang Iser, and Susan Sniader Lanser. Keywords: narrative criticism; narratology; literary terms; literary criticism; reader-response criticism; New Criticism; close reading 1. Introduction Narrative criticism focuses on how the New Testament works as literature. The “what” of a narrative (content) and the “how” (rhetoric and structure) are analyzed as a complete tapestry, an organic whole. Narrative critics are concerned primarily with the literariness of New Testament narratives or the qualities that make them literature. It is a shift away from traditional historical-critical methods to how the text communicates meaning as a self-contained unit, an undivided whole.
    [Show full text]
  • National Narrative in Ukrainian Historical Novels from Post-Stalinist
    National Narrative in Ukrainian Historical Novels from Post-Stalinist to Post-Independence Texts by Anna Carr, B.A., M.A. (National University of “Kyiv-Mohyla Academy”). A PhD thesis submitted to the Department of International Studies, Macquarie University, Sydney. November, 2015 2 Contents Acknowledgements ................................................................................................................................. 5 Summary .................................................................................................................................................. 6 Introduction ............................................................................................................................................. 8 Chapter 1. Literature Review. Contextualising the National Narrative ................................................. 13 1.1. On the Definition of the National Narrative .......................................................................... 13 1.2. Post-Colonialism and Ukrainian National Narrative ............................................................. 17 1.3. What National Narrative Is Not ............................................................................................. 20 1.3.1. National Narrative Is Not a Myth .................................................................................. 21 1.3.2. National Narrative: Between History and Memory ....................................................... 36 1.4. Conclusion ............................................................................................................................
    [Show full text]
  • Principles of Narration
    1 2 Seminar für Filmwissenschaft PRINCIPLES OF NARRATION Vorlesung Grundlagen der Filmtheorie SS 2005 Thomas Christen David Bordwell Basistext Narratologie 1 Source: Narration in the Fiction Film, Madison, WI: University of Wisconsin Press, 1985, pp. 48-62. Bordwell, David: Principles of narration. In: Philip Simpson ... [et al.] (eds.): Film theory: critical concepts in media My account of Rear Window does not constitute a critical interpretation. I have not labeled and cultural studies. Vol. 2. London [etc.]: Routledge, 2004, 5. 245-267. [Ursprünglich in: David Bordwell: Narra- Jeff a voyeur, judged his peeping nice or naughty, or sought to establish him as a "castrated" tion in the fiction film. Madison: University of Wisconsin Press, 1985, 5. 48-62] adventurer fantasizing the dismembering of a woman's body. Indeed, my sketch is not even an analysis of the film, since specifying the spectator's activity cannot itself provide that. For the viewer, constructing the story takes precedence; the effects of the text are registered, but its causes go unremarked. This is not to say that these activities are, strictly speaking, unconscious; most work of narrative comprehension seems to occur in what Freud called the preconscious, the realm of elements "capable of entering consciousness."1 The spectator simply has no concepts or terms for the textual elements and systems that shape responses. It is the job of theory to construct them, the job of analysis to show them at work. A full theory of narration must be able to specify the objective devices and forms that elicit the spectator's activity. That is the task of this and the next three chapters.
    [Show full text]
  • Fabula Entropy Indexing: Objective Measures of Story Coherence
    Fabula Entropy Indexing: Objective Measures of Story Coherence Louis Castricato, Spencer Frazier, Jonathan Balloch, and Mark O. Riedl Georgia Tech {lcastric, sfrazier7, balloch}@gatech.edu, {riedl}@cc.gatech.edu Abstract perplexity and n-gram based methods such as BLEU (Papineni et al., 2002)—are insufficient in Automated story generation remains a difficult creative generation domains such as story genera- area of research because it lacks strong ob- tion. These metrics assume that generated language jective measures. Generated stories may be linguistically sound, but in many cases suffer can only be good if is resembles testing data or a poor narrative coherence required for a com- given target story. This precludes the possibility pelling, logically-sound story. To address this, that stories may be good yet be completely novel. we present Fabula Entropy Indexing (FEI), an Indeed, the goal of story generation is usually the evaluation method to assess story coherence construction of novel stories. by measuring the degree to which human par- ticipants agree with each other when answer- In the absence of automated evaluation metrics, ing true/false questions about stories. We the alternative is to use human participant stud- devise two theoretically grounded measures ies. Human participants, typically recruited via of reader question-answering entropy, the en- crowdsourcing platforms (e.g Mechanical Turk or tropy of world coherence (EWC), and the en- Prolific), are asked to read the stories generated tropy of transitional coherence (ETC), focus- by various systems and provide subjective rating ing on global and local coherence, respectively. or rankings. Questionnaires may ask participants We evaluate these metrics by testing them on to rate or rank the overall quality of stories, but human-written stories and comparing against the same stories that have been corrupted to in- may also ask specific questions about features of troduce incoherencies.
    [Show full text]
  • Identity Transformation and Agency in Digital Narratives and Story Based Games
    Identity Transformation and Agency in Digital Narratives and Story Based Games by Joshua Glen Tanenbaum M.A. (Interactive Arts and Technology), Simon Fraser University, 2008 B.A., University of Redlands, 2002 Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the School of Interactive Arts and Technology Faculty of Communication, Art, and Technology Joshua Glen Tanenbaum 2015 SIMON FRASER UNIVERSITY Spring 2015 All rights reserved. However, in accordance with the Copyright Act of Canada, this work may be reproduced, without authorization, under the conditions for “Fair Dealing.” Therefore, limited reproduction of this work for the purposes of private study, research, criticism, review and news reporting is likely to be in accordance with the law, particularly if cited appropriately. Approval Name: Joshua Tanenbaum Degree: Doctor of Philosophy Title of Thesis: Identity Transformation and Agency in Digital Narratives and Story Based Games Examining Committee: Chair: Steve DiPaola, Associate Professor Alissa N. Antle Senior Supervisor Associate Professor Jim Bizzocchi Co- Supervisor Associate Professor Dene Grigar Supervisor Associate Professor, Digital Technology and Culture Program, Washington State University Richard Smith Internal Examiner Professor, Communications, SFU Margaret MacKey External Examiner Professor, School of Library and Information Studies, University of Alberta Date Defended/Approved: March 13, 2015 ii Partial Copyright Licence iii Ethics Statement iv Abstract In this dissertation I propose a reimagining of two of the central pleasures of digital media: Agency and Transformation. The first of these pleasures – Agency – is a concept that has received significant attention in the discourse around games and storytelling. The second pleasure – Transformation – has received comparatively little deep investigation.
    [Show full text]
  • Narrative Theory and the Poetics of Story and Plot 169
    THEORY AND INTERPRETATION OF NARRATIVE THE FOR OF PLOT POETICS A James Phelan, Peter J. Rabinowitz, and Katra Byram, Series Editors TWENTY-FIRST CENTURY TWENTY-FIRST “Brian Richardson’s ever-expanding knowledge of world historical li terature—ancient and contemporary, arcane and canonical—allows him, seemingly without effort, to put things in a fresh light—a rare pleasure in academic prose.” —H. PORTER ABBOTT A POETICS OF Story, in the largest sense of the term, is arguably the single most important aspect of narrative. But with the proliferation of antimimetic writing, traditional narrative theory has been inadequate for conceptualizing and theorizing a vast body of innovative narratives. In A Poetics of Plot for the Twenty-First Century: Theorizing Unruly Narratives, Brian Richardson proposes a new, expansive model PLOT for understanding story and plot, including beginnings, endings, temporality, and FOR THE unusual narrative progressions. While he focuses on late modernist, postmodern, and contemporary narratives, the study also includes many earlier works, unruly narratives theorizing spanning from Aristophanes and Shakespeare through James Joyce and Virginia TWENTY-FIRST Woolf to Salman Rushdie and Angela Carter. By exploring fundamental questions about narrative, Richardson provides a CENTURY detailed, nuanced, and comprehensive theory that includes neglected categories of storytelling and significantly enhances our treatment of traditional areas of analysis. Ultimately, this book promises to transform and expand the study of story and plot. theorizing unruly narratives RICHARDSON BRIAN RICHARDSON is Professor of English and Comparative Literature at the University of Maryland, College Park, and author of Unnatural Narrative: Theory, History, and Practice (OSU Press, 2015). COVER DESIGN: Laurence J.
    [Show full text]
  • Rhizomes and Non-‐Linear Pathways: New Approaches to Narrative in The
    1 Rhizomes and Non-linear Pathways: New Approaches to Narrative in the Competitive Hobbyist Documentary By David Shaerf 2 Submitted by David Shaerf, to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Film Practice, October 2010. This thesis is available to the Library for use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis that is not my own work has been identified and that material has previously been submitted for the award of a degree by this or any other University. …………………………………….David Shaerf 3 Abstract This PhD study will serve to question and explore questions and methods of narratology (more specifically narrative structure) within the construct of the documentary filmmaking process. The arguments that follow in the written section of this thesis will serve as a text that allows a synthesis between my practical work in the documentary film, The Love for the Game (2010), and the underlying narratological theories posited in this PhD submission. Ultimately, this thesis’ aim is to contribute to and expand upon theories of narrative structure within documentary film; a largely underdeveloped area within documentary theory. More specifically, the thesis is inspecting the genre of documentary which I am calling competitive hobbyist films: a group of films that has recently emerged within the documentary field of filmmaking which closely inspect niche interest groups within a competitive environment. The documentary titled The Love for the Game (2010), then, will document the community that surrounds the game of Backgammon (predominantly in the United States).
    [Show full text]
  • Critical Theory and Practice: a Coursebook
    Critical Theory and Practice: A Coursebook Critical Theory and Practice: A Coursebook is an accessible, up-to-date and clear introduction to literary theory. Each chapter contains guiding commentary, examples from literary and critical works, and a variety of exercises to provoke and engage. The chapters each have their own glossary and annotated selection of suggested further reading, and the book also contains a full bibliography. All the key issues and debates which the student of literary theory is likely to confront are covered here. The reader has the opportunity to approach selected literary texts newly equipped with a knowledge of the methodology and assisted by suggested questions. Critical Theory and Practice: A Coursebook is a challenging yet approachable textbook which not only clearly explains the terminology, but also stimulates the reader to engage with the theory and apply it in practice. Keith Green is Senior Lecturer in English Studies at Sheffield Hallam University. He has published articles on a variety of linguistic and literary topics. Jill LeBihan is Lecturer in English Studies and Women’s Studies at Sheffield Hallam University. She has published articles on contemporary women’s writing and feminist theory. LONDON AND NEW YORK RRROUTLEDGEOUTLEDGEOUTLEDGE Critical Theory and Practice: A Coursebook Keith Green and Jill LeBihan n First published 1996 British Library Cataloguing in Publication by Routledge Data 11 New Fetter Lane, London EC4P 4EE A catalogue record for this book is available from the British Library Simultaneously published in the USA and Canada Library of Congress Cataloguing in by Routledge Publication Data 29 West 35th Street, New York Green, Keith NY 10001 Critical Theory and Practice/Keith Green and Jill LeBihan.
    [Show full text]
  • Cinema and Narrative Complexity Embodying the Fabula Steffen Hven Cinema and Narrative Complexity
    FILM CULTURE IN TRANSITION Cinema and Narrative Complexity embodying the fabula steffen hven Cinema and Narrative Complexity Cinema and Narrative Complexity Embodying the Fabula Steffen Hven Amsterdam University Press For Gefion Cover illustrations: (front) Photo: Ruth Harriet Louise - Buster Keaton, The Cameraman (1928), directed by Edward Sedgwick; Collection Christophel / RnB © Metro Goldwyn Mayer; (back) frame from Memento (2000), directed by Christopher Nolan. Cover design: Kok Korpershoek, Amsterdam Lay-out: Crius Group, Hulshout Amsterdam University Press English-language titles are distributed in the US and Canada by the University of Chicago Press. isbn 978 94 6298 077 8 e-isbn 978 90 4853 025 0 doi 10.5117/9789462980778 nur 670 © S. Hven / Amsterdam University Press B.V., Amsterdam 2017 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. Table of Contents I. Introduction 7 II. Cinema in the Interstices 25 Introduction 25 Cinema and its two Temporal Modes 26 The Cognitive Fabula and Linear Storytelling 29 Film-Philosophy and the Challenge of Contemporary Cinema 41 III. Narrative Ambiguity in the Classical Cinema 53 Introduction 53 Narrative Transgression in Stage Fright 58 Defamiliarization and Beyond 69 IV. Modern(ist) Cinema: Logic of the Encounter 83 Introduction 83 Cinema and the Modern 84 Hiroshima mon amour – A Cinematic Love Affair 93 V. Towards the Embodied Fabula 111 Introduction 111 Towards an Embodied and Enactive Approach to Cognition 113 Embodying the Narrative Experience 121 VI.
    [Show full text]