Made available in DSpace on 2016-04-26T18:17:22Z (GMT). No. of bitstreams: 1 Tulio Cesar Gama e Silva.pdf: 497636 bytes, checksum: 4f5062145379b6581731eddc5ba9098e (MD5) Previous issue date: 2008-08-20 / The dissertation consists of investigating alternative forms of dramatic and narratives structures for the development of cinematographic script. Trying to detect distinct models of narrative construction, the research has as main object the study on the script of the film 21 Grams (2003), of the Mexican scriptwriter Guillermo Arriaga. At a first moment, a comparison of the script and the film will be made, following the methodology of the Genetic Criticism to understand the structural approach of the work. The analysis will have as support the studies of specialized authors in audiovisuals scripts as Flávio de Campos, David Bordwell and Jean-Claude Carrière; however, the effort of the research will be to unmask the properties and the limits of the processes of creation of cinematographic narrative and to extend the dimension of the possibilities of creative development on cinema script. 21 Grams is presented as example of a possible "shunting line" of the dramatical standardization, since it shows a narrative form of nonlinear time and multi-protagonists. The fragmentation, at the beginning, seems to divergir basic laws of classic narrative, as the unity law and continuous progression law. The narrative of 21 Grams, thus, brings as attractive its own narrative form, where the way to tell a story is so attractive as much the content of story / A dissertação consiste em investigar formas alternativas de estruturas narrativas e dramáticas para o desenvolvimento de roteiro cinematográfico. Buscando detectar modelos distintos de construção narrativa, a pesquisa tem como objeto principal o estudo sobre o roteiro do filme "21 Gramas" (2003), do roteirista mexicano Guillermo Arriaga. Em um primeiro momento, será feita uma comparação do roteiro e do filme, seguindo a metodologia da Crítica Genética para entender a abordagem estrutural da obra. A análise terá como suporte os estudos de autores especializados em roteiros audiovisuais como Flávio de Campos, David Bordwell e Jean-Claude Carrière; no entanto, o esforço da pesquisa será de desvendar as propriedades e os limites dos processos de criação de narrativa cinematográfica e ampliar a dimensão das possibilidades de desenvolvimento criativo sobre roteiro de cinema. "21 Gramas" se apresenta como exemplo de um possível "desvio" da padronização dramática, pois exibe uma forma narrativa de tempo não-linear e sem protagonista único. A fragmentação, a princípio, parece divergir de leis fundamentais de narrativa clássica, como a lei da unidade e a lei da progressão contínua. A narrativa de "21 Gramas", assim, traz como atrativo a sua própria forma narrativa, em que o modo de contar uma história é tão atraente quanto o conteúdo da história

Ce mémoire cherche à dégager les mécanismes et outils narratifs utilisés par les suspenses afin de configurer la tension narrative au cinéma. Le premier chapitre analyse la fonction de la synecdoque et de la métonymie dans la configuration d’un espace-temps tensif. Ainsi, l’exposition d’un danger enclenche une situation narrative incertaine dans laquelle le spectateur s’identifie au personnage menacé et vit avec lui son angoisse. À partir de définitions générales et de nombreux films tels que Jaws et The Matrix, le deuxième chapitre s’aventure à la recherche de récurrences thématiques et esthétiques dans le but de légitimer un genre ambigu. Le troisième chapitre introduit la démarche créative et la recherche en création. Le scénario Les saisons parfaites, un suspense psychologique, évoque L’enfer de Claude Chabrol et Black Swan de Darren Aronofsky. Donc, ce mémoire se demande comment s’articule la tension narrative et comment définir l’identité générique du suspense? Ce dernier existe-t-il seulement? Si oui, à quoi sert-il de l’étudier? / This thesis focuses on the mecanisms and narrative tools used in suspense and thriller films. The first chapter analyzes the function of the synecdoche and metonymy and their role in filmic time-space. The presence of danger triggers incertainties for the viewers that are bound to the endangered character. Then, following larger definitions and numerous films such as Jaws and The Matrix, the second chapter tries to find recurring thematic and aesthetic elements. The purpose of this approach is to legitimate a genre that might not be one. Finally, the third and last chapter, introduces the creative part of this work. A screenplay, The Perfect Seasons (Les saisons parfaites), a psychological suspense, is inspired by Darren Aronofsky’s Black Swan and Claude Chabrol’s L’enfer. This thesis asks how does work narrative tension in films and how is it possible to define suspense as a genre? Does this genre exists? If so, why is it important to study it?

Because of critical neglect, there is no established terminology to describe techniques of suspense. Borrowing from Aristotle, Koestler, and others, a new body of concepts is suggested and importantly, a distinction of tense is established, between types of suspense which relate to the narrative past, present, and future. The classical world's intuition of a connection between mental uncertainty and the physical state of hanging has conditioned Western man's notion of narrative suspense until a comparatively recent date. Eighteenth-century theories of the sublime helped to create an understanding that suspense was not necessarily painful. Through an analysis of novels by Jane Austen, George Eliot, Dickens, Hardy, and Conrad, an attempt is made to identify and evaluate the most common suspense strategies in the period's popular genres, notably the Austenian romance, mystery, and tragedy. The Austenian romance is compared to the detective story in that narrative presentation is determined by the need to control the reader's expectations, and to achieve an ending which is both satisfactory and surprising. The latter requirement may have contributed to the gradual disappearance of the authorial "voice" in the course of the nineteenth century, and a consequent reduction in the pleasures of irony and comedy. During the Victorian period, many genres are combined in the long novel, but mystery gradually advances in popularity and sophistication, to the point where narrative events are often inappropriately exploited as secrets. Tragedy involves a creative conflict between the reader's hopes and expectations, so he is permitted to glimpse the overall tragic process, and suspense is generated on the levels of theme and causaliy. The problems incurred by an inability or unwillingness to conclude structures of theme suspense are considered finally.

Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, Programa de Pós-Graduação em Literatura, 2017. / Submitted by Raquel Almeida (raquel.df13@gmail.com) on 2018-04-09T18:44:02Z No. of bitstreams: 1 2017_DanielLukanSchimithSilva.pdf: 1788519 bytes, checksum: 8f4472fbd46866d98610ec9a2fd1f3fc (MD5) / Approved for entry into archive by Raquel Viana (raquelviana@bce.unb.br) on 2018-04-17T21:21:39Z (GMT) No. of bitstreams: 1 2017_DanielLukanSchimithSilva.pdf: 1788519 bytes, checksum: 8f4472fbd46866d98610ec9a2fd1f3fc (MD5) / Made available in DSpace on 2018-04-17T21:21:39Z (GMT). No. of bitstreams: 1 2017_DanielLukanSchimithSilva.pdf: 1788519 bytes, checksum: 8f4472fbd46866d98610ec9a2fd1f3fc (MD5) Previous issue date: 2018-04-17 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES). / Essa pesquisa tem como objetivo principal investigar a composição do suspense narrativo – suas origens e implicações – a partir da análise das obras de Edgar Allan Poe, G.K. Chesterton e Alfred Hitchcock. Tendo como base o levantamento feito na obra de dois grandes nomes da crime-fiction literária e uma análise na obra cinematográfica do ‘mestre do suspense’, definiu-se os contos The Black Cat, de Poe, e The Honour of Israel Gow, de Chesterton, além do filme The Lodger, de Hitchcock, como modelos de narrativas paradigmáticas no conjunto das obras de cada um dos artistas em questão. Desse modo, com base nas análises narrativas e no aporte teórico acerca do suspense, colocar-se-á o embate entre culpa e inocência como elemento comum às narrativas dos três autores; bem como será discutida a hipótese de que, a partir da convergência entre elementos peculiares à obra de Poe e os particulares à obra de Chesterton, Hitchcock conseguiu criar um suspense moral bastante característico ao seu estilo de crime-fiction cinematográfico. Ou seja, como base numa simples ligação inicial – a crime-fiction – essa pesquisa pretende levantar o máximo de informações e conexões nos contos e no filme em análise a fim de compreender o suspense e o medo originados no conflito entre culpa e inocência, tanto na literatura quanto no cinema. / This research has as main objective investigating the composition of suspense narratives – their origins and implications – from the analysis of the works of Edgar Allan Poe, G.K. Chesterton and Alfred Hitchcock. On the basis of the survey on the works of two great names in literary crime-fiction and the examination on the filmography of ‘the master of suspense’: Poe’s Black Cat, Chesterton’s The Honor of Israel Gow and Hitchcock's The Lodger are defined as models of paradigmatic narratives in the oeuvres of each artist in question. Thus, based on the narrative analysis and the theoretical support about suspense, the contrast between blame and innocence will be assigned as a common element to the narratives of the three authors; as well as it will be discussed the hypothesis that Hitchcock created a moral suspense, quite characteristic to his cinema style of crime-fiction, from the convergence between peculiar elements of Poe’s work and odd elements of Chesterton’s work. In other words, based on a simple initial connection – the crime-fiction – this research intends to collect the maximum information on the stories under analysis in order to comprehend the suspense and the fear originated in the conflict between guilt and innocence, in both arts (cinema and literature).

Die term speurverhaal impliseer ’n spesifieke soort verhaal of genre, tradisioneel triviaalliteratuur of ontspanningslektuur, met spesifieke kodes en konvensies. Enige konvensies is egter aanpasbaar en die grense tussen hoë kuns en populêre kultuur is vloeibaar, sodat dit moontlik is dat daar wel ʼn vertakking of subgenre wat die literêre speurverhaal genoem kan word, kon ontwikkel het. Die doel van hierdie verhandeling is om die volgende navorsingsvrae te beantwoord: Is daar wel speurverhale wat as literêre speurverhale gekategoriseer kan word? Indien nie, waarom word die kodes van die speurverhaal as narratiewe strategie gekies vir sekere romans? Wat is die verskille en ooreenkomste tussen die tradisionele speurverhaal en die sogenaamde literêre speurverhaal? Die verskynsel word ondersoek word deur twee romans wat moontlik as literêre speurverhale geklassifiseer kan word, nl. Een vir Azazel (Leroux, 1984) en Die boek van toeval en toeverlaat (Winterbach, 2006), te vergelyk met twee tradisionele speurverhale, nl. Reuk van die dood (Mouton, 2008) en Plaasmoord (Brynard, 2009), aan die hand van sekere struktuurelemente, nl. spanningslyn, plot, intrige, karakterisering, verteller, vertellersperspektief, tyd, en ruimte. ENGLISH : The term detective story indicates a specific kind of story or genre, traditionally recreational and light reading, with specific codes and conventions. However, any set of conventions are pliable and the boundaries between recreational and high art are fluid and constantly shifting. It is therefore possible that a subgenre of the detective story that can be called the literary detective story could have developed. The goal of this dissertation is to answer the following research questions: Are there detective stories that can be categorised as literary detective stories? If not, why is the detective element chosen as a narrative strategy for some novels? What are the differences and similarities between the traditional detective story and the so called literary detective novel? / Dissertation (MA)--University of Pretoria, 2010. / Afrikaans / unrestricted

Une part importante de l’activité de communication humaine est dédiée au récit d’événements (fictifs ou non). Ces récits doivent être cohérents et intéressants pour être pertinents. Dans le domaine de la génération automatique de récits, la question de l’intérêt a souvent été négligée, ou traitée via l’utilisation de méthodes ad hoc, au profit de la cohérence des structures narratives produites. Nous proposons d’aborder le processus de création des récits sous l’angle de la modélisation quantitative de critères de pertinence narrative via l’application d’un modèle cognitif de l’intérêt événementiel. Nous montrerons que cet effort de modélisation peut servir de guide pour concevoir un modèle cognitivement plausible de génération de narrations. / Humans devote a considerable amount of time to producing narratives. Whatever a story is used for (whether to entertain or to teach), it must be relevant. Relevant stories must be believable and interesting. The field of computational generation of narratives has explored many ways of generating narratives, especially well-formed and understandable ones. The question of what makes a story interesting has however been largely ignored or barely addressed. Only some specific aspects of narrative interest have been considered. No general theoretical framework that would serve as guidance for the generation of interesting and believable narratives has been provided. The aim of this thesis is to introduce a cognitive model of situational interest and use it to offer formal criteria to decide to what extent a story is relevant. Such criteria could guide the development of a cognitively plausible model of story generation.

Die vorliegende Seminararbeit zeigt anhand einer breit gefächerten Analyse von Mystery die Vielfältigkeit des Mystery-Begriffes und -Genres auf, besonders im Hinblick auf die Parallelen und Unterschiede zu seinem englischen Ursprung. Es erfolgt eine detaillierte etymologisch-lexikografische Betrachtung. In dieser wird auf die verschiedenen Bedeutungsfacetten von Mystery eingegangen sowie eine Anglizismus-/Pseudoanglizismus-Debatte geführt. Ausgangspunkt bildet der ursprüngliche Sinn von Mystery als Unerklärliches, generelles Rätsel, Geheimnis oder religiöses Mysterium. Es werden Verbindungen zu englischen Rätselgeschichten (mystery stories) gezogen, die allgemein von unerklärlichen Begebenheiten erzählt. Diese mysteries umfassen sowohl Rätsel im verbrechensbezogenen Kontext (detective stories) als auch die im Deutschen vorherrschenden Verbindungen zum Übernatürlichen sowie Geheimnisvoll-Rätselhaftes in den vielfältigsten Kontexten (Gothic novels, moderne American mystery story). Somit wird eine Annäherung der englisch-deutschen Mystery-Bedeutung sichtbar. Ferner versucht die Arbeit, auf Ursprünge und Entwicklungen des deutschen Mystery-Trends einzugehen und die Faszination Mystery zu erklären. Eine bedeutende Rolle kommt der Serie Akte X zu. Denn im Zuge ihrer Ausstrahlung und Vermarktung im deutschen Fernsehen wurde die englische Mystery-Bezeichnung aufgegriffen. In die gesamte Aufarbeitung werden verschiedenste Meinungen von Rezipientenseite, Vermarktung, Medien, Wissenschaft einbezogen. So entsteht ein Überblick zum Dargestellten im Mystery-Genre. Es wird belegt, dass im deutschsprachigen Raum ein relativ einheitliches Bewusstsein dafür besteht, was das Genre Mystery im filmischen und literarischen Bereich ausmacht.

No description available.

Abstract Uppsats:  I denna uppsats analyseras kvinnlig ilska genom ett feministiskt perspektiv, med fokus på hur den porträtteras och tolkas i filmen Mean Girls, specifikt genom karaktären Regina George. Genom att tillämpa teorier om stereotyper, genus och postfeminism diskuteras olika tolkningar av Reginas ilska. Där betonas Reginas styrka och självständighet, medan andra ser hennes ilska som svag och okvinnlig. Uppsatsen utforskar även hur dessa tolkningar kan påverkas av samhälleliga normer och hur dessa förändras över tid, med en särskild reflektion över postfeministiska perspektiv. Genom att kontextualisera och studera stereotyper kring kvinnlig ilska uppmuntrar uppsatsen en diskussion kring etiska och samhälleliga aspekter såsom jämställdhet. Genom att integrera dessa perspektiv bidrar uppsatsen till en mer omfattande förståelse av kvinnlig ilska och dess relevans för samhälleliga frågor och den populärkultur vi lever i idag. Abstract Media Produktion:  Jag vill återintroducera filmklassiker till den nya generationens ciniaster. Dagens filmsamhälle är trångt i och med den mängd filmer som produceras dagligen. Detta kan i sin tur leda till att de filmer som startade det hela lätt glöms bort i smeten. Filmstaden  har därför valt att införa något de valt att kalla för “klassiker veckan”. En vecka i månaden väljer filmstaden ut en känd regissör från förr och visar denna personens filmer under veckans gång. Första regissören som valts är Alfred Hitchcock och hans två filmer Psycho och Vertigo.  Jag har fått i uppgift att skapa rörliga teasers och affischer för denna klassiska filmvecka i marknadsföringssyfte.

Kwok Sze-Ki. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2003. / Includes bibliographical references (leaves 131-138). / Abstracts in English and Chinese. / Abstract --- p.i / 摘要 --- p.iii / Acknowledgements --- p.v / Introduction The Genre of Detective Thriller --- p.1 / Chapter Chapter One --- The Figure in the Carpet: Agatha Christie's The Murder of Roger Ackroyd --- p.33 / Chapter Chapter Two --- """Thrillers are like life´ؤmore like life than you are"": Graham Greene's The Ministry of Fear" --- p.68 / Chapter Chapter Three --- "Cultural and Metaphysical Mysteries: Paul Bowles's ""The Eye"" and Jorge Luis Borges's ""The Garden of Forking Paths""" --- p.99 / Concluding Remarks --- p.127 / Bibliography --- p.131