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11	The Dig : De grafiska äventyrsspelen som flyktigt medium Magnuson, Markus Amalthea January 2010 (has links) No description available. computer games graphic adventure games narrative hypertext interactive fiction temporality multimedia science fiction André Bazin technology Gérard Genette Lev Manovich Studies on Film Filmvetenskap
12	Superfície de imagens : o tema do olhar em Borges e em Cortázar Botelho, José Francisco Hillal Tavares de Junqueira January 2009 (has links) O presente trabalho analisa a presença do tema do olhar em dois contos fantásticos: "El Aleph", de Jorge Luis Borges, e "Las babas del diabo", de Julio Cortázar. Com base nas teorias da intertextualidade e da interdisciplinaridade, o trabalho trata de efetuar uma aproximação entre a Literatura e as teorias do cinema. À luz das reflexões de Serguei Eisenstein e André Bazin sobre a montagem e o plano-seqüência, este trabalho termina por comparar as concepções de realidade e ficção que norteiam as estéticas de Borges e de Cortázar. / This thesis analyses the act of gazing as a literary theme within two short stories of the fantastic genre: "El Aleph", by Jorge Luis Borges, and "Las babas del diablo", by Julio Cortázar. Based on the intertextuality and interdisciplinarity theories, the work tries to perform an approximation between Literature and film theory. After considering the reflections by Serguei Eisenstein and André Bazin on editing and the long-shot, this work finishes by drawing a comparison between the distinct conceptions of fiction and reality, which conforms different sets of literary aesthetics within the works of Borges and Cortazar. Literatura comparada Literatura fantástica Intertextualidade Interdisciplinaridade Cinema e literatura Teoria literária Imagem na literatura Cortázar, Júlio, 1914-1984 Borges, Jorge Luís, 1899-1986 Bazin, André, 1918-1958 Fantastic genre
13	Proti adaptaci: za transdisciplinaritu a menšinový film / Against adaptation: toward transdisciplinarity and minor cinema Petříková, Linda January 2014 (has links) Against Adaptation: Toward Transdisciplinarity and Minor Cinema Linda Petříková Abstract Over the past decades, the field adaptation studies has been trying to break new grounds and escape the confines of the predominant fidelity discourse. This thesis wants to propose new perspectives that have been widely underrepresented, at least in the Anglo-American context, drawing attention to the great relevance to adaptation of the writings of French critical thinkers, most notably Gilles Deleuze and his two-volume publication on cinema and Jacques Rancière and his continuation/reevaluation of Deleuze's film-related concepts. Without directly addressing questions of adaptation, the way both philosophers think about cinema is inseparable from their thinking about literature and indeed about other arts and media, exemplifying new transdisciplinary approaches to adaptation this thesis hopes to encourage. Even though it might seem counterintuitive, considering the efforts of adaptation studies to cut the roots it has grown within literary departments, I chose three Shakespearean adaptations for the case studies as I believe that such focus will enable us to see more clearly the significance of interstices as much as of the links the films form with the text. Jean-Luc-Godard's King Lear, Orson Welles's Chimes at...
14	Superfície de imagens : o tema do olhar em Borges e em Cortázar Botelho, José Francisco Hillal Tavares de Junqueira January 2009 (has links) O presente trabalho analisa a presença do tema do olhar em dois contos fantásticos: "El Aleph", de Jorge Luis Borges, e "Las babas del diabo", de Julio Cortázar. Com base nas teorias da intertextualidade e da interdisciplinaridade, o trabalho trata de efetuar uma aproximação entre a Literatura e as teorias do cinema. À luz das reflexões de Serguei Eisenstein e André Bazin sobre a montagem e o plano-seqüência, este trabalho termina por comparar as concepções de realidade e ficção que norteiam as estéticas de Borges e de Cortázar. / This thesis analyses the act of gazing as a literary theme within two short stories of the fantastic genre: "El Aleph", by Jorge Luis Borges, and "Las babas del diablo", by Julio Cortázar. Based on the intertextuality and interdisciplinarity theories, the work tries to perform an approximation between Literature and film theory. After considering the reflections by Serguei Eisenstein and André Bazin on editing and the long-shot, this work finishes by drawing a comparison between the distinct conceptions of fiction and reality, which conforms different sets of literary aesthetics within the works of Borges and Cortazar. Literatura comparada Literatura fantástica Intertextualidade Interdisciplinaridade Cinema e literatura Teoria literária Imagem na literatura Cortázar, Júlio, 1914-1984 Borges, Jorge Luís, 1899-1986 Bazin, André, 1918-1958 Fantastic genre
15	Superfície de imagens : o tema do olhar em Borges e em Cortázar Botelho, José Francisco Hillal Tavares de Junqueira January 2009 (has links) O presente trabalho analisa a presença do tema do olhar em dois contos fantásticos: "El Aleph", de Jorge Luis Borges, e "Las babas del diabo", de Julio Cortázar. Com base nas teorias da intertextualidade e da interdisciplinaridade, o trabalho trata de efetuar uma aproximação entre a Literatura e as teorias do cinema. À luz das reflexões de Serguei Eisenstein e André Bazin sobre a montagem e o plano-seqüência, este trabalho termina por comparar as concepções de realidade e ficção que norteiam as estéticas de Borges e de Cortázar. / This thesis analyses the act of gazing as a literary theme within two short stories of the fantastic genre: "El Aleph", by Jorge Luis Borges, and "Las babas del diablo", by Julio Cortázar. Based on the intertextuality and interdisciplinarity theories, the work tries to perform an approximation between Literature and film theory. After considering the reflections by Serguei Eisenstein and André Bazin on editing and the long-shot, this work finishes by drawing a comparison between the distinct conceptions of fiction and reality, which conforms different sets of literary aesthetics within the works of Borges and Cortazar. Literatura comparada Literatura fantástica Intertextualidade Interdisciplinaridade Cinema e literatura Teoria literária Imagem na literatura Cortázar, Júlio, 1914-1984 Borges, Jorge Luís, 1899-1986 Bazin, André, 1918-1958 Fantastic genre
16	"Do not fade, do not wither, do not grow old" : En adaptionsanalys av tid och rum i Sally Potters Orlando (1992) / "Do Not Fade, Do Not Wither, Do Not Grow Old" : An Analysis of Time and Space in Sally Potter's Film Adaptation Orlando (1992) Weber, Minon January 2021 (has links) For almost a century, Virginia Woolf has enchanted readers all over the world with her novel about the gender fluid and time travelling character Orlando. British director Sally Potter adapted Orlando into film in 1992, and her adaptation has since gained immense fame and a continuous presence in world cinema. Potter's Orlando has been the object of a great deal of scholarly interest. However, previous research has predominantly focused on questions of gender and sexuality. Considerably underdiscussed is the film's fascinating conception of time and space. This thesis therefore sets out to analyze Sally Potter's Orlando in order to demonstrate how time and space is shaped in the film. Theories developed by George Bluestone and André Bazin form the theoretical framework of this thesis. Through a close reading of the film, this thesis demonstrates that Potter establishes an unconventional temporality and spatiality through constructing a nonlinear, often contradictory temporality conveyed through contrasts between the organic and the fantastic, the real and the fictitious. Furthermore, the analysis finds that spatiality in Potter's Orlando is presented as multidimensional, allowing certain characters the possibility to inhabit a "fluid spatiality". Through presenting the past and the present as fused, Potter's Orlando can be understood through the optics of Bluestone's concept of "the flux of time" and Henri Bergsons la durée réelle. Simultaneously, breaks in the narrative presented through intertitles can be read as representing Bergsons idea of l'étendu, while also establishing a tangible spatiality. Adaptation Studies Adaptation Spatiotemporal Orlando Sally Potter Virginia Woolf George Bluestone André Bazin Henri Bergson flux time flux nonlinear nonlinear time unconventional temporality spatiality la durée réelle l'étendu chronological time psychological time Adaptionsstudier adaptionsanalys adaption temporalitet rumslighet Orlando Sally Potter Virginia Woolf George Bluestone André Bazin Henri Bergson tid rum ickelinjär tid okonventionell temporalitet okonventionell tidslighet la durée réelle l'étendu kronologisk tid psykologisk tid Studies on Film Filmvetenskap
17	Cinema of the self : a theory of cinematic selfhood & practices of neoliberal portraiture Rosinski, Milosz Paul January 2017 (has links) This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror. In this approach, selfhood is understood as aesthetic-ontological relation and construction based on specific techniques of the self. In the first part of the study, I argue for a presentational rather than representational perspective concerning selfhood by translating the photograph Self in the Mirror (1964), the painting Las Meninas (1656), and the video Cornered (1988), into my conception of a cinematic theory of selfhood. Based on the presentation of selfhood in those works, the viewer establishes a cinematic relation to the visual self that extends and transgresses the boundaries of inside and outside, presence and absence, and here and there. In the second part, I interpret epistemic scenes of cinematic works as durational scenes in which selfhood is exposed with respect to the forces of time and space. My close readings of epistemic scenes of the films The Congress (2013), and Boyhood (2014) propose that cinema is a philosophical mirror collecting loss of selfhood over time for the viewer. Further, the cinematic concert A Trip to Japan, Revisited (2013), and the hyper-film Cool World (1992) disperse a spatial sense of selfhood for the viewer. In the third part, I examine moments of selfhood and the forces of death, survival, and love in the practice of contemporary cinematic portraiture in Joshua Oppenheimer’s, Michael Glawogger’s, and Yorgos Lanthimos’ work. While the force of death is interpreted in the portrait of perpetrators in The Act of Killing (2013), and The Look of Silence (2014), the force of survival in the longing for life is analysed in Megacities (1998), Workingman’s death (2005), and Whores’ Glory (2011). Lastly, Dogtooth (2009), Alps (2011), and The Lobster (2015) present the contemporary human condition as a lost intuition of relationality epitomised in love.

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