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SatchmoSolano, Callie M 15 December 2012 (has links)
No description available.
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GHOST STORIES WITHOUT GHOSTS: A STUDY OF AUTHORSHIP IN THE FILM SCRIPT ?THE SEABORNE?Marshall, Matt, n/a January 2008 (has links)
In 'The Crypt, the Haunted House of Cinema', Cholodenko argues that film is,
metaphorically speaking, a haunted house: an instance of the uncanny. This raises the
possibility the film script is also uncanny, from the Freudian notion of das Unheimliche,
the strangely familiar and familiarly strange - and thus also a haunted house. This
proposition engenders a search as self-reflexive practice for that which haunts the script'
an uncanny process to explore the uncanny. The search requires drawing on Barthes,
acting 'as dead' with that process' attendant contradictions and problematics' the most
likely ghost in the script being the writing self.
Establishing the characteristics of the writing self involves distinguishing that figure from
the author. This requires outlining the development of theories of the author from the
concept of authorial will, as per the argument of Hirsch, to the abnegation of the author as
a philosophical certainty. Barthes and Foucault call this abnegation the death of the
author. Rather than that marking the end of a particular branch of analysis, the death of
the author can be considered an opening to the writing practice. From this perspective,
the death of the author becomes a strategy in Foucault's game of writing, effecting the
obfuscation of the writing self, by placing a figure as dead, the author figure, within the
metaphorical topography of the text. Indeed, the author as dead is akin to a character in
the narrative but at a substratum level of the text. What places this dead figure within the
text is an uncanny writing self, a figure of transgression, brought into being in the
experience of Blanchot's essential solitude.
'The Seaborne' written by Matt Marshall, provides an example of a film script that
constitutes a haunted house, a site of the uncanny. In terms of the generic characteristics
of the film script as text type, its relative unimportance in relation to any subsequent film
based on the script becomes of itself a feature of the film script. This makes the film
script a site of negotiation and contestation between the implied author as hidden director
on the one hand and the implied reader as implied director on the other. This confirms
the film script as, using Sternberg's terminology, a blueprint text type. Examples of the
negotiation and relationship between hidden director and implied director are found in
analysis of 'The Seaborne' as are the tensions in the relationship between the
individualistic impulses of the hidden director and the mechanistic, formal requirements
of the text type as blueprint. These tensions are ameliorated by the hidden director who
is then effaced within the constructed layers of the film script text to allow interpretive
space for the implied director.
'The Seaborne' as representative of the film script text becomes the after-image of a
written text and the foreshadowing of a future filmic one. It therefore never finds
completion within its own construction process and its formation begins in templates that
accord with the Bakhtin's description of the epic, as is shown by comparing the
construction notes for 'The Seaborne' with Aristotlean dramatic requirements. But at the
same time there is present in 'The Seaborne' a Bakhtinian dialogism that points towards
the individual markers of a writing self. This writing self, referring to Kristeva, is a
figure of abjection. It transgresses itself and transgresses its own transgressions. It is a
ghost in a ghost story without ghosts.
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And Then OkayDorr, Summer 17 December 2011 (has links)
No description available.
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The remnants of civilization & the dawn of anxietyStuyck, Daniel Hanson 15 November 2011 (has links)
The following report describes the conceptualization, pre-production, production and post-production of the film The Remnants of Civilization & The Dawn of Anxiety. It also contains the original film script and shooting schedule as supplemental material. / text
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Tom, Dick, and HarryHammersmith, Andy 01 April 2021 (has links) (PDF)
Presumed dead, a cantankerous retired assassin hides out in a senior living home. When the CIA tracks him down, he enlists his fellow residents to trade in their walkers for weapons to protect the facility from a death squad.
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Potencialização da experiência estética no iCinema: diretrizes para a criação de roteiro cinematográfico ficcional multilinear interativo / -Bieging, Patricia 11 November 2016 (has links)
Tendo em vista as formas de interação entre os sujeitos e os audiovisuais ficcionais interativos, esta pesquisa teve como objetivo geral a elaboração de diretrizes para a criação de roteiro cinematográfico ficcional multilinear interativo com base na potencialização da experiência estética do espectador. Com o avanço dos aparatos tecnológicos e as inovadoras possibilidades, o iCinema (cinema interativo) ganha maior força e conquista os espectadores quanto à imersão e à participação no processo de decisão da trajetória da história. A partir disso, foram traçados alguns objetivos específicos teóricos: estudar a experiência estética gerada na recepção da narrativa cinematográfica; compreender o fluxo motivacional e o papel dos dispositivos na construção da mise-én-scène; verificar as etapas da construção de um roteiro cinematográfico clássico e a possibilidade de construção multilinear; e explorar métodos multimetodológicos para a pesquisa. Com relação aos objetivos específicos práticos, buscou-se: co-produzir um roteiro de curta-metragem cinematográfico ficcional interativo; realizar um estudo de recepção com profissionais da área audiovisual a partir do roteiro criado; entender a relação dos espectadores com narrativas multilineares e interativas; entender os dispositivos cinematográficos com vistas a potencializá-los na criação do roteiro; e criar diretrizes para a elaboração de roteiros interativos. O crescimento das possibilidades criadas pelos filmes pode ser percebido na ampliação das narrativas fílmicas e nos diversos movimentos propiciados por esta mídia, gerando múltiplas sensações e a intensificação das emoções. Neste contexto, buscou-se responder à seguinte pergunta de pesquisa: como construir uma narrativa cinematográfica ficcional multilinear a partir de dispositivos cinematográficos contemporâneos, fazendo com que o espectador vivencie uma experiência extraordinária? Para responder aos objetivos da pesquisa traçou-se um plano multimetodológico (BAUER, GASKELL, 2008), compreendendo abordagens qualitativa, quantitativa, pesquisas bibliográficas, documentais e empíricas (MERRIAM, 1998; MERKLE, 2000). A abordagem junto aos espectadores teve a participação de 24 pessoas, homens e mulheres, entre 20 e 39 anos, fluentes em internet e novas mídias. O roteiro de curta-metragem cinematográfico multilinear interativo foi criado por Raul Inácio Busarello e Patricia Bieging. O estudo de recepção (JACKS; ESCOSTEGUY, 2005) teve a participação de sete especialistas em produção audiovisual. Verificou-se que a multilinearidade das estruturas colabora com o iCinema e convida o espectador, que espera ser surpreendido, a assumir papéis importantes para o desenvolvimento da narrativa. Evidenciou-se que o gerenciamento da interatividade é o ponto chave do iCinema e um desafio para os roteiristas e para os produtores. Estas desafiadoras experiências permitem maior interação e, até mesmo, imersão e profunda vivência dos sujeitos frente à narrativa. Possibilita, inclusive, a interferência em seu fluxo narrativo, fazendo com que a obra seja reformulada de acordo com as escolhas do espectador. Em resposta à pergunta de pesquisa foram elaborados quatro grupos de diretrizes, que se subdividem, visando à criação de roteiros cinematográficos multilineares interativos, sendo: 1) foco nas estratégias de potencialização da experiência do espectador, subdividido em: criação da narrativa, captura da atenção, realismo da narrativa, personagens e self-experience; 2) dispositivos estratégicos e gerenciamento interativo; 3) gerenciamento das ramificações, subdividido em: manutenção do fluxo, teasers e inatividade do espectador; 4) condução do fluxo narrativo. / Considering the forms of interaction between subjects and interactive fictional audiovisual means, this study aimed at elaborating guidelines to create an interactive multilinear fictional movie script based on boosting spectators\' aesthetic experience. With the advances in technologies and the innovative possibilities they ensue, iCinema has been gaining momentum and conquering spectators as to its immersion and participation in decision-making processes for the plot. From this scenario, specific theoretical objectives were also outlined: to study the aesthetic experience generated from the reception of a movie narrative; to understand motivational flow and the role of devices in building the mise-én-scène; to verify the stages in a classic movie script writing and possibilities for multilinear writing; and to explore multi-methodological methods for the study. Specific practical objectives included: to co-produce an interactive fictional short film script; to study its reception with audiovisual professionals; to understand the relation between spectators and interactive multilinear narratives; to understand the cinema devices and boost their functions in script writing; and to create guidelines to write interactive scripts. The increasing possibilities created by film can be perceived by the broadening of film narratives, and by several movements enabled by such medium, thus generating a multitude of sensations and intensified emotions. In this context, the research question guiding this study was: how can one build a multilinear fictional filmic narrative from contemporary cinema devices in order that spectators have an extraordinary experience? In order to fulfill the objectives of this study, a comprehensive multi-method plan (BAUER, GASKELL, 2008) was devised to approach qualitative, quantitative, bibliographic, documental, and empirical aspects of research (MERRIAM, 1998; MERKLE, 2000). Spectator approach involved 24 participants, men and women with ages between 20-39 that were literate in new media and the Internet. The interactive multilinear short film script was written by Raul Inácio Busarello and Patricia Bieging. The reception study (JACKS; ESCOSTEGUY, 2005) was performed with 7 audiovisual production specialists. It was possible to verify that structural multilinearity collaborates with iCinema and invites spectators, who expect surprises, to take on important roles to develop the plot. It was evident that managing interactivity is the key point in iCinema, and it poses a challenge for screenwriters and producers alike. These challenging experiences allow for greater interaction, and even immersion and profound dedication of subjects to the narrative. It even allows for interference in narrative flow, enabling reformulation of the film according to spectator choices. In response to the research question, 4 groups of guidelines were elaborated and subdivided for the creation of interactive multilinear screenplays, namely: 1) focus on spectator experience boost strategies: narrative creation, attention capture, narrative realism, characters, and self-experience; 2) strategic devices and interactive management; 3) branch management: flow maintenance, teasers, and spectator inactivity; and 4) narrative flow and pacing.
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Potencialização da experiência estética no iCinema: diretrizes para a criação de roteiro cinematográfico ficcional multilinear interativo / -Patricia Bieging 11 November 2016 (has links)
Tendo em vista as formas de interação entre os sujeitos e os audiovisuais ficcionais interativos, esta pesquisa teve como objetivo geral a elaboração de diretrizes para a criação de roteiro cinematográfico ficcional multilinear interativo com base na potencialização da experiência estética do espectador. Com o avanço dos aparatos tecnológicos e as inovadoras possibilidades, o iCinema (cinema interativo) ganha maior força e conquista os espectadores quanto à imersão e à participação no processo de decisão da trajetória da história. A partir disso, foram traçados alguns objetivos específicos teóricos: estudar a experiência estética gerada na recepção da narrativa cinematográfica; compreender o fluxo motivacional e o papel dos dispositivos na construção da mise-én-scène; verificar as etapas da construção de um roteiro cinematográfico clássico e a possibilidade de construção multilinear; e explorar métodos multimetodológicos para a pesquisa. Com relação aos objetivos específicos práticos, buscou-se: co-produzir um roteiro de curta-metragem cinematográfico ficcional interativo; realizar um estudo de recepção com profissionais da área audiovisual a partir do roteiro criado; entender a relação dos espectadores com narrativas multilineares e interativas; entender os dispositivos cinematográficos com vistas a potencializá-los na criação do roteiro; e criar diretrizes para a elaboração de roteiros interativos. O crescimento das possibilidades criadas pelos filmes pode ser percebido na ampliação das narrativas fílmicas e nos diversos movimentos propiciados por esta mídia, gerando múltiplas sensações e a intensificação das emoções. Neste contexto, buscou-se responder à seguinte pergunta de pesquisa: como construir uma narrativa cinematográfica ficcional multilinear a partir de dispositivos cinematográficos contemporâneos, fazendo com que o espectador vivencie uma experiência extraordinária? Para responder aos objetivos da pesquisa traçou-se um plano multimetodológico (BAUER, GASKELL, 2008), compreendendo abordagens qualitativa, quantitativa, pesquisas bibliográficas, documentais e empíricas (MERRIAM, 1998; MERKLE, 2000). A abordagem junto aos espectadores teve a participação de 24 pessoas, homens e mulheres, entre 20 e 39 anos, fluentes em internet e novas mídias. O roteiro de curta-metragem cinematográfico multilinear interativo foi criado por Raul Inácio Busarello e Patricia Bieging. O estudo de recepção (JACKS; ESCOSTEGUY, 2005) teve a participação de sete especialistas em produção audiovisual. Verificou-se que a multilinearidade das estruturas colabora com o iCinema e convida o espectador, que espera ser surpreendido, a assumir papéis importantes para o desenvolvimento da narrativa. Evidenciou-se que o gerenciamento da interatividade é o ponto chave do iCinema e um desafio para os roteiristas e para os produtores. Estas desafiadoras experiências permitem maior interação e, até mesmo, imersão e profunda vivência dos sujeitos frente à narrativa. Possibilita, inclusive, a interferência em seu fluxo narrativo, fazendo com que a obra seja reformulada de acordo com as escolhas do espectador. Em resposta à pergunta de pesquisa foram elaborados quatro grupos de diretrizes, que se subdividem, visando à criação de roteiros cinematográficos multilineares interativos, sendo: 1) foco nas estratégias de potencialização da experiência do espectador, subdividido em: criação da narrativa, captura da atenção, realismo da narrativa, personagens e self-experience; 2) dispositivos estratégicos e gerenciamento interativo; 3) gerenciamento das ramificações, subdividido em: manutenção do fluxo, teasers e inatividade do espectador; 4) condução do fluxo narrativo. / Considering the forms of interaction between subjects and interactive fictional audiovisual means, this study aimed at elaborating guidelines to create an interactive multilinear fictional movie script based on boosting spectators\' aesthetic experience. With the advances in technologies and the innovative possibilities they ensue, iCinema has been gaining momentum and conquering spectators as to its immersion and participation in decision-making processes for the plot. From this scenario, specific theoretical objectives were also outlined: to study the aesthetic experience generated from the reception of a movie narrative; to understand motivational flow and the role of devices in building the mise-én-scène; to verify the stages in a classic movie script writing and possibilities for multilinear writing; and to explore multi-methodological methods for the study. Specific practical objectives included: to co-produce an interactive fictional short film script; to study its reception with audiovisual professionals; to understand the relation between spectators and interactive multilinear narratives; to understand the cinema devices and boost their functions in script writing; and to create guidelines to write interactive scripts. The increasing possibilities created by film can be perceived by the broadening of film narratives, and by several movements enabled by such medium, thus generating a multitude of sensations and intensified emotions. In this context, the research question guiding this study was: how can one build a multilinear fictional filmic narrative from contemporary cinema devices in order that spectators have an extraordinary experience? In order to fulfill the objectives of this study, a comprehensive multi-method plan (BAUER, GASKELL, 2008) was devised to approach qualitative, quantitative, bibliographic, documental, and empirical aspects of research (MERRIAM, 1998; MERKLE, 2000). Spectator approach involved 24 participants, men and women with ages between 20-39 that were literate in new media and the Internet. The interactive multilinear short film script was written by Raul Inácio Busarello and Patricia Bieging. The reception study (JACKS; ESCOSTEGUY, 2005) was performed with 7 audiovisual production specialists. It was possible to verify that structural multilinearity collaborates with iCinema and invites spectators, who expect surprises, to take on important roles to develop the plot. It was evident that managing interactivity is the key point in iCinema, and it poses a challenge for screenwriters and producers alike. These challenging experiences allow for greater interaction, and even immersion and profound dedication of subjects to the narrative. It even allows for interference in narrative flow, enabling reformulation of the film according to spectator choices. In response to the research question, 4 groups of guidelines were elaborated and subdivided for the creation of interactive multilinear screenplays, namely: 1) focus on spectator experience boost strategies: narrative creation, attention capture, narrative realism, characters, and self-experience; 2) strategic devices and interactive management; 3) branch management: flow maintenance, teasers, and spectator inactivity; and 4) narrative flow and pacing.
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Die herskryf van die roman Die swye van Mario Salviati van Etienne van Heerden as 'n draaiboek, met spesifieke fokus op identiteit, hibriditeit en liminaliteit / C.A. BreedBreed, Catharina Adriana January 2007 (has links)
Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2007.
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Die herskryf van die roman Die swye van Mario Salviati van Etienne van Heerden as 'n draaiboek, met spesifieke fokus op identiteit, hibriditeit en liminaliteit / Catharina Adriana BreedBreed, Catharina Adriana January 2007 (has links)
This study explores the possibilities of rewriting the text of a complex novel as a film
script. Film is an important contemporary artform but the actuality of the thematic
content of contemporary Afrikaans novels is not well represented in current films. In
this study an adaptation of the novel, The long silence of Mario Salviati by Etienne
van Heerden (2000) ,t o a script is made in an attempt to provide the Afrikaans
scriptwriter with a workable method. The theme which features prominently in the
adaptation is the experience of identity in the post-colonial and/or post-apartheid era
in South Africa.
Theoretical reflection on the problem of adaptation is essential before the chosen
novel can be turned into a script, since the scriptwriter has to make certain
adjustments during the process of adaptation. The adaptation of a novel to a script
implies the translation of a written, descriptive text into a visual text. When a
complex novel such as The long silence of Mario Salviati is rewritten as a script, a
detailed analysis of the novel must be undertaken in order to identify the relevant
ideological content, the important themes and underlying meanings which should be
retained in the film script. In order to find appropriate visual images for the thematic
content of the novel, contributions of semiotics to film studies are studied and
implemented in the process of visualisation.
The chosen theme for the script of The long silence of Mario Salviati is "Identity,
hybridity and liminality in the Tallejare community". This theme features
prominently in many narratives about post-colonial and post-apartheid issues;
therefore theoretical reflections on the concepts of liminality and hibridity are
included in the study.
There are two main sections in the dissertation. In the first section aspects of
scriptwriting are analysed and discussed in order to develop a workable method for
scriptwriters. The study entertains the hope that more contemporary Afrikaans novels
will be adapted for the big screen or television by the film industry. This is necessary
to ensure that the experience of South African identity is represented adequately in
the Afrikaans film industry.
The second section of the dissertation contains the film script, which is an adaptation
of the novel The long silence of Mario Salviati by Etienne van Heerden. The script
forms an integral part of the study as well as of the dissertation. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2007.
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Die herskryf van die roman Die swye van Mario Salviati van Etienne van Heerden as 'n draaiboek, met spesifieke fokus op identiteit, hibriditeit en liminaliteit / Catharina Adriana BreedBreed, Catharina Adriana January 2007 (has links)
This study explores the possibilities of rewriting the text of a complex novel as a film
script. Film is an important contemporary artform but the actuality of the thematic
content of contemporary Afrikaans novels is not well represented in current films. In
this study an adaptation of the novel, The long silence of Mario Salviati by Etienne
van Heerden (2000) ,t o a script is made in an attempt to provide the Afrikaans
scriptwriter with a workable method. The theme which features prominently in the
adaptation is the experience of identity in the post-colonial and/or post-apartheid era
in South Africa.
Theoretical reflection on the problem of adaptation is essential before the chosen
novel can be turned into a script, since the scriptwriter has to make certain
adjustments during the process of adaptation. The adaptation of a novel to a script
implies the translation of a written, descriptive text into a visual text. When a
complex novel such as The long silence of Mario Salviati is rewritten as a script, a
detailed analysis of the novel must be undertaken in order to identify the relevant
ideological content, the important themes and underlying meanings which should be
retained in the film script. In order to find appropriate visual images for the thematic
content of the novel, contributions of semiotics to film studies are studied and
implemented in the process of visualisation.
The chosen theme for the script of The long silence of Mario Salviati is "Identity,
hybridity and liminality in the Tallejare community". This theme features
prominently in many narratives about post-colonial and post-apartheid issues;
therefore theoretical reflections on the concepts of liminality and hibridity are
included in the study.
There are two main sections in the dissertation. In the first section aspects of
scriptwriting are analysed and discussed in order to develop a workable method for
scriptwriters. The study entertains the hope that more contemporary Afrikaans novels
will be adapted for the big screen or television by the film industry. This is necessary
to ensure that the experience of South African identity is represented adequately in
the Afrikaans film industry.
The second section of the dissertation contains the film script, which is an adaptation
of the novel The long silence of Mario Salviati by Etienne van Heerden. The script
forms an integral part of the study as well as of the dissertation. / Thesis (M.A. (Afrikaans and Dutch))--North-West University, Potchefstroom Campus, 2007.
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