Results for 'Metaphor in motion pictures. '

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  1.  14
    Philosophy of Literature & Philosophy of Film and Motion Pictures, 2 Book Set.Dominic Mciver Lopes, No?L. Carroll & Jinhee Choi - 2008 - Wiley-Blackwell.
    Pack includes 2 titles from the popular Blackwell Philosophy Anthologies Series: Philosophy of Literature: Contemporary and Classic Readings - An Anthology Edited by Eileen John and Dominic McIver Lopes ISBN: 9781405112086 Essential readings in the philosophy of literature are brought together for the first time in this anthology. Contains forty-five substantial and carefully chosen essays and extracts Provides a balanced and coherent overview of developments in the field during the past thirty years, including influential work on fiction, interpretation, metaphor, (...)
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  2. Metaphor and film.Trevor Whittock - 1990 - New York: Cambridge University Press.
    In Metaphor and Film, Trevor Whittock demonstrates that feature films are permeated by metaphors that were consciously introduced by directors. An examination of cinematic metaphor forces us to reconsider the nature of metaphor itself, and the ways by which such visual imagery can be recognised and understood, as well as interpreted. Metaphor and Film identifies the principal forms of cinematic metaphor, and also provides an analysis of the mental operations that one must bring to it. (...)
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  3.  14
    Sight, Sound and Society: Motion Pictures and Television in America.Frank Manchel, David Manning White & Richard Averson - 1971 - Journal of Aesthetic Education 5 (2):166.
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  4.  10
    Motives: Metaphors in motion.John C. Fentress - 1979 - Behavioral and Brain Sciences 2 (2):219-219.
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  5.  8
    Philosophy in Stan Brakhage’s Dog Star Man: World, Metaphor, Interpretation.Alberto Baracco - 2019 - Cham: Springer Verlag.
    This book shows how a masterpiece of experimental cinema can be interpreted through hermeneutics of the film world. As an application of Ricœurian methodology to a non-narrative film, the book calls into question the fundamental concept of the film world. Firmly rooted within the context of experimental cinema, Stan Brakhage’s Dog Star Man was not created on the basis of a narrative structure and representation of characters, places and events, but on very different presuppositions. The techniques with which Brakhage worked (...)
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  6.  29
    Motion pictures as metaphoric consumption: How animal narratives teach us to be human.Elizabeth C. Hirschman & Clinton R. Sanders - 1997 - Semiotica 115 (1-2):53-80.
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  7.  91
    Depicting Motion in a Static Image: Philosophy, Psychology and the Perception of Pictures.Luca Marchetti - 2022 - British Journal of Aesthetics 62 (3):353-371.
    This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that (...)
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  8.  12
    Motion Metaphors in Music Criticism.Chaojun Yang & Lin Yu - forthcoming - Journal of Aesthetics and Art Criticism.
    Music is an activity that needs to be acted out and “doing” music is a very embodied experience. That’s why the metaphor of motion is pervasive in Western class.
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  9. The relationship between change detection and recognition of centrally attended objects in motion pictures.Bonnie L. Angelone, Daniel T. Levin & Daniel J. Simons - 2003 - Perception 32 (8):947-962.
  10.  13
    An Embodied Tutoring System for Literal vs. Metaphorical Concepts.Marietta Sionti, Thomas Schack & Yiannis Aloimonos - 2018 - Frontiers in Psychology 9:365590.
    • In this paper we combine motion captured data with linguistic notions in a game-like intelligent tutoring system, in order to help elementary school students to better differentiate literal from metaphorical uses of motion verbs, based on embodied information. In addition to the thematic goal, we intend to improve young students’ attention and spatiotemporal memory, by presenting sensorimotor data experimentally collected from thirty two participants in our motion capturing labs. Furthermore, we examine the accomplishment of game’s goals (...)
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  11.  10
    The eloquent screen: a rhetoric of film.Gilberto Perez - 2019 - Minneapolis: University of Minnesota Press.
    Cinema is commonly hailed as "the universal language," but how does it communicate so effortlessly across cultural and linguistic borders? Drawing on a lifetime's worth of viewing an reviewing, influential critic Gilberto Perez invokes a dizzying array of masters past and present includin Chaplin, Ford, Kiarostami, Eisenstein, Malick, Mizoguchi, Haneke, Hitchcock, and Godard--to explore the transaction between filmmaker and audience. The Eloquent Screen shows how cinema, as the consummate contemporary art form, establishes a thoroughly modern rhetoric in which different points (...)
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  12.  6
    Spiegelungen: Variationen einer Metapher.Jörg Becker - 2017 - Berlin: Verbrecher Verlag.
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  13.  2
    Yŏnghwa, kŭ kihohakchŏk haesŏk ŭi chŭlgŏum.Sŏn-gi Paek - 2007 - Taehan Min'guk, Sŏul: K'ŏmyunik'eisyŏn Puksŭ.
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  14.  13
    Metaphors in a Patient's Narrative: Picturing Good Care.Christina Sinding - 2014 - Ethics and Social Welfare 8 (1):57-74.
  15.  43
    Metaphors in Pictures.Josef Stern - 1997 - Philosophical Topics 25 (1):255-293.
  16.  10
    Love in motion: erotic relationships in film.Reidar Due - 2013 - London: Wallflower Press.
    This book is about film's encounter with love throughout the medium's history. It is also about the philosophy of love... [it] outlines a new metaphysics and ontology of love as a reciprocal erotic relationship. This study argues that film's special narrative language is particularly well suited to depicting love in this way. It begins with early silent directors, such as Joseph von Sternberg, and concludes with contemporary filmmakers, such as Sophia Coppola; it also compares classical French and American love films (...)
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  17.  62
    Norbert Elias’s Motion Pictures: history, cinema and gestures in the process of civilization.Gadi Algazi - 2008 - Studies in History and Philosophy of Science Part A 39 (3):444-458.
    Norbert Elias’s project in The process of civilization involved reconstructing invisible movement—both the slow tempoof long-term historical change and the modification of psychic structures and embodied dispositions. To do this, he resorted to uncommon devices: treating historical texts as constituting a series amenable to a rudimentary discourse analysis, he constructed an imagined ‘curve of civilization’ serving as an approximation of the hidden process of change. Elias’s curve was not supposed to represent single past states, but movement itself, its direction and (...)
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  18.  14
    A Companion to Motion Pictures and Public Value.Ted Nannicelli & Mette Hjort (eds.) - 2022 - Wiley Blackwel.
    A COMPANION TO MOTION PICTURES AND PUBLIC VALUE A Companion to Motion Pictures and Public Value brings together original essays by world-renowned scholars investigating the varied intersections of the moving image and the public good. Covering a wide range of types and genres of cinema, this unprecedented volume explores the past, present, and possible future contributions of motion pictures to public value. With a cross-disciplinary approach, the text presents original conceptual work, global perspectives, philosophical arguments, historical discussion, (...)
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  19.  4
    Die Dekonstruktion des Bürgerlichen im Stummfilm der Weimarer Republik.Ioana Crăciun - 2015 - Heidelberg: Universitätsverlag Winter.
    English summary: The silent film of the Weimar Republic grappled with the norms and values of a society, whose elites dismissed it as a cultural product for the masses and the bulk of whose citizens were eager consumers of film. It scrutinized their civil facade and distanced itself with constructive irony and productive skepticism about their traditional (gender-) roles and modes of identity. Its silent message reaches us today like a message in a bottle from a temporary and distant, but (...)
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  20.  10
    Secrecy and Autonomy in Lewis Carroll.Susan Sherer - 1996 - Philosophy and Literature 20 (1):1-19.
    In lieu of an abstract, here is a brief excerpt of the content:Secrecy and Autonomy in Lewis CarrollSusan ShererVictorian novels quiver with morbid secrets and threatening discoveries. Unseen rooms, concealed doors, hidden boxes, masked faces, buried letters, all appear (and disappear) with striking regularity in the fiction of Victorian England. So many of these secret spaces contain children, and especially little girls, little girls in hidden spaces. The young Jane Eyre sits behind a curtain in the hidden window seat, escaping (...)
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  21.  8
    Consistency in Motion Event Encoding Across Languages.Guillermo Montero-Melis - 2021 - Frontiers in Psychology 12.
    Syntactic templates serve as schemas, allowing speakers to describe complex events in a systematic fashion. Motion events have long served as a prime example of how different languages favor different syntactic frames, in turn biasing their speakers toward different event conceptualizations. However, there is also variability in how motion events are syntactically framed within languages. Here, we measure the consistency in event encoding in two languages, Spanish and Swedish. We test a dominant account in the literature, namely that (...)
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  22.  31
    Secrecy and Autonomy in Lewis Carroll.Susan Sherer - 1996 - Philosophy and Literature 20 (1):1-19.
    In lieu of an abstract, here is a brief excerpt of the content:Secrecy and Autonomy in Lewis CarrollSusan ShererVictorian novels quiver with morbid secrets and threatening discoveries. Unseen rooms, concealed doors, hidden boxes, masked faces, buried letters, all appear (and disappear) with striking regularity in the fiction of Victorian England. So many of these secret spaces contain children, and especially little girls, little girls in hidden spaces. The young Jane Eyre sits behind a curtain in the hidden window seat, escaping (...)
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  23.  49
    Essential Brakhage: selected writings on filmmaking.Stan Brakhage - 2001 - Kingston, N.Y.: Documentext. Edited by Bruce R. McPherson.
    In the course of making nearly 400 films over the past 50 years, "Stan Brakhage" became synonymous with independent American filmmaking, particularly its avant-garde component. This major collection of writings draws primarily upon two long out-of-print books--Metaphors on Vision and Brakhage Scrapbook. Brakhage examines filmmaking in relation to social and professional contexts, the nature of influence and collaboration, the aesthetics of personal experience, and the conditions under which various films were made. Brakhage discusses his predecessors and contemporaries, relates film to (...)
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  24.  4
    Still: American Silent Motion Picture Photography.David S. Shields - 2013 - University of Chicago Press.
    The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...)
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  25.  27
    Affect and Motion Pictures.Jesse Prinz - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 893-921.
    Emotions play at least three key roles in cinema. First, many motion pictures present highly emotional situations, involving characters who fall in love, who endure unbearable loss, and who become hell-bent on revenge. To make sense of movies, we must identify the emotions that drive their characters. Second, motion pictures seem to arouse emotions. We go to tearjerkers that make us cry, splatter films that make us writhe, and action films that keep us at the edges of our (...)
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  26.  48
    God does play dice with the universe: a startling new picture of the world Einstein could not believe but you can understand.Shan Gao - 2008 - Bury St. Edmunds, Suffolk: Arima.
    Science has made a mighty advance since it originated in ancient Greece more than 2500 years ago. Yet we still live in Plato's cave today; we think everything around us moves continuously, but continuous motion is merely a shadow of real motion. This book will lead you to walk out the cave along a logical and comprehensible road. After passing Zeno's arrow, Newton's inertia, Einstein's light, and Schrodinger's cat, you will reach the real world, where every thing in (...)
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  27.  40
    Where Do I Come From? Metaphors in Sex Education Picture Books for Young Children in China.Jennifer Yameng Liang, Kay O’Halloran & Sabine Tan - 2016 - Metaphor and Symbol 31 (3):179-193.
    ABSTRACTThis study examines the types of verbal, pictorial, and multimodal metaphors in the genre of sex education picture books for young children in Mainland China. Although being an educational discourse genre that is essentially concerned with transmitting scientific facts, sex education picture books employ a range of metaphors that categorize and construe the biological knowledge of human reproduction in a way that not only facilitates young children’s understanding of scientific concepts but also instills in them particular values and moralities that (...)
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  28. Philosophy of Film and Motion Pictures: An Anthology.Noël Carroll & Jinhee Choi (eds.) - 2009 - Wiley-Blackwell.
    Designed for classroom use, this authoritative anthology presents key selections from the best contemporary work in philosophy of film. The featured essays have been specially chosen for their clarity, philosophical depth, and consonance with the current move towards cognitive film theory Eight sections with introductions cover topics such as the nature of film, film as art, documentary cinema, narration and emotion in film, film criticism, and film's relation to knowledge and morality Issues addressed include the objectivity of documentary films, fear (...)
     
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  29.  23
    Embodied Metaphors in Film, Television, and Video Games: Cognitive Approaches.Kathrin Fahlenbrach (ed.) - 2015 - Routledge.
    In cognitive research, metaphors have been shown to help us imagine complex, abstract, or invisible ideas, concepts, or emotions. Contributors to this book argue that metaphors occur not only in language, but in audio visual media well. This is all the more evident in entertainment media, which strategically "sell" their products by addressing their viewers’ immediate, reflexive understanding through pictures, sounds, and language. This volume applies cognitive metaphor theory to film, television, and video games in order to analyze the (...)
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  30.  47
    Visual Metaphors in the Sciences: The Case of Epigenetic Landscape Images.Jan Baedke & Tobias Schöttler - 2016 - Journal for General Philosophy of Science / Zeitschrift für Allgemeine Wissenschaftstheorie:1-22.
    Recent philosophical analyses of the epistemic dimension of images in the sciences show a certain trend in acknowledging potential roles of these images beyond their merely decorative or pedagogical functions. We argue, however, that this new debate has yet paid little attention to a special type of pictures, we call ‘visual metaphor’, and its versatile heuristic potential in organizing data, supporting communication, and guiding research, modeling, and theory formation. Based on a case study of Conrad Hal Waddington’s epigenetic landscape (...)
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  31.  22
    The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures Since 1915.Paul A. Lombardo & Martin S. Pernick - 1997 - Hastings Center Report 27 (2):43.
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  32.  52
    Meaning in Motion.Jeroen Groenendijk & Martin Stokhof - 2000 - In Klaus von Heusinger & Urs Egli (eds.), Reference and Anaphoric Relations. Kluwer Academic Publishers. pp. 47--78.
    The paper sketches the place of dynamic semantics within a broader picture of developments in philosophical and linguistic theories of meaning. Some basic concepts of dynamic semantics are illustrated by means of a detailed analysis of anaphoric definite and indefinite descriptions, which are treated as contextually dependent quantificational expressions. It is shown how a dynamic view sheds new light on the contextual nature of interpretation, on the difference between monologue and dialogue, and on the interplay between direct and indirect information.
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  33. Meaning in Motion: An Inquiry Into the Logic of the "Tractatus".Doron Avital - 2004 - Dissertation, Columbia University
    Tractatus Logico-Pilosophicus, the only book published during Ludwig Wittgenstein's lifetime , has since attracted the imagination of generations of philosophers as a work of great philosophical genius. Nonetheless, even today, more than eighty years later, philosophers are struggling to reconcile its diverse themes within a single, coherent picture. The present work is an attempt to meet this challenge. ;Wittgenstein considered the single proposition as a concrete model for the fact. The challenge is to show how a system of propositions can (...)
     
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  34.  55
    Visual Metaphors in the Sciences: The Case of Epigenetic Landscape Images.Jan Baedke & Tobias Schöttler - 2017 - Journal for General Philosophy of Science / Zeitschrift für Allgemeine Wissenschaftstheorie 48 (2):173-194.
    Recent philosophical analyses of the epistemic dimension of images in the sciences show a certain trend in acknowledging potential roles of these images beyond their merely decorative or pedagogical functions. We argue, however, that this new debate has yet paid little attention to a special type of pictures, we call ‘visual metaphor’, and its versatile heuristic potential in organizing data, supporting communication, and guiding research, modeling, and theory formation. Based on a case study of Conrad Hal Waddington’s epigenetic landscape (...)
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  35.  17
    Philosophy of Film and Motion Pictures: An Anthology.NoË Carroll, L. & Jinhee Choi (eds.) - 2009 - Wiley-Blackwell.
    Designed for classroom use, this authoritative anthology presentskey selections from the best contemporary work in philosophy offilm. The featured essays have been specially chosen for theirclarity, philosophical depth, and consonance with the current movetowards cognitive film theory Eight sections with introductions cover topics such as thenature of film, film as art, documentary cinema, narration andemotion in film, film criticism, and film's relation to knowledgeand morality Issues addressed include the objectivity of documentary films,fear of movie monsters, and moral questions surrounding the (...)
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  36.  38
    A Reflection of the Sun ( ).Sydney Harvey - 2024 - Film and Philosophy 28:1-18.
    This paper explores a philosophical argument about the use of natural light in films. I argue that directors use sunlight as a visual metaphor to induce a sublime experience from the viewer to elevate the narrative. While it is more efficient in terms of time management and finances to use electric lights, sunlight creates a successful emotional effect on the viewer placing them in contemplation of the relationship between humanity, nature, and humility. Essentially, I am concerned with what it (...)
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  37.  17
    Horror film and otherness.Adam Lowenstein - 2022 - New York: Columbia University Press.
    What do horror films reveal about social difference in the everyday world? Criticism of the genre often relies on a dichotomy between monstrosity and normality, in which unearthly creatures and deranged killers are metaphors for society's fear of the "others" that threaten the "normal." The monstrous other might represent women, Jews, or Blacks, as well as Indigenous, queer, poor, elderly, or disabled people. The horror film's depiction of such minorities can be sympathetic to their exclusion or complicit in their oppression, (...)
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  38.  39
    Experiential Realism and Motion Pictures: A Neurophenomenological Approach.Jane Stadler - 2016 - Studia Phaenomenologica 16:439-465.
    This article sets up a neurophenomenological approach to understanding cinema spectatorship in order to investigate how embodied engagement with technologies of sound and motion can foster a sense of experiential realism. It takes as a starting point the idea that the empirical study of emotive, perceptual, motor, and cognitive processes involved in film spectatorship is impoverished without a phenomenological account of the lived experience under investigation. Correspondingly, engaging with neuroscientific studies enriches the scope of phenomenological inquiry and offers new (...)
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  39. The Palgrave Handbook of the Philosophy of Film and Motion Pictures.Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.) - 2019 - Springer.
    This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary (...)
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  40. Meaning in motion.Martin Stokhof - 2000 - In von Heusinger & Urs Egli (eds.), Reference and Anaphoric Relations. Dordrecht: Kluwer. pp. 47-76.
    The paper sketches the place of dynamic semantics within a broader picture of developments in philosophical and linguistic theories of meaning. Some basic concepts of dynamic semantics are illustrated by means of a detailed analysis of anaphoric definite and indefinite descriptions, which are treated as contextually dependent quantificational expressions. It is shown how a dynamic view sheds new light on the contextual nature of interpretation, on the difference between monologue and dialogue, and on the interplay between direct and indirect information.
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  41. The Application of Metaphors in Suhrawardī's Epistemology.Z. Zargooshi, R. Rezazadeh & M. Ziaei - 2021 - Philosophy and Kalam 54 (1):61-81.
    Regarding the classical theory, metaphors have been regarded as decorative things, belonging to the literary language and distinctive from philosophical and scientific language. Besides, according to this theory, the basis of the forming of metaphors is the similarity between two phenomena. However, considering the contemporary theory, not only the literary language but also the scientific and philosophical ones are metaphorical. Moreover, the basis of the forming of metaphors is not only the objective similarities, but also the non-objective ones and experiential (...)
     
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  42.  4
    Inconceivable effects: ethics through Twentieth-Century German literature, thought, and film.Martin Blumenthal-Barby - 2013 - Ithaca, NY: Cornell University Library.
    "The odium of doubtfulness" : or, the vicissitudes of Arendt's metaphorical thinking -- Why does Hannah Arendt lie? : or, the vicissitudes of imagination -- "A peculiar apparatus" : Kafka's thanatopoetics -- A strike of rhetoric : Benjamin's paradox of justice -- Pernicious bastardizations : Benjamin's ethics of pure violence -- The return of the human : Germany in autumn -- A politics of enmity : Müller's Germania death in Berlin.
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  43.  27
    The Phenomenological Movement in Context of the Philosophy of Film and Motion Pictures.Shawn Loht - 2019 - In Noël Carroll, Laura T. Di Summa & Shawn Loht (eds.), The Palgrave Handbook of the Philosophy of Film and Motion Pictures. Springer. pp. 285-313.
    This chapter surveys foundational concepts in the history of phenomenology for the purpose of highlighting their relevance for key contemporary issues in the philosophy of film. A central argument concerns phenomenology’s capacity for unraveling the ontology of film, given phenomenology’s emphasis on accounting for the ontology of phenomena through description based in first-person experience. On this ground, the chapter defends the claim that film’s ontology stems from the projective intentionality of the film viewer, where the communicative nature of embodied vision (...)
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  44.  28
    Dead Man Walking : On the Cinematic Treatment Of Licensed Public Killing.Edmund Arens - 1998 - Contagion: Journal of Violence, Mimesis, and Culture 5 (1):14-29.
    In lieu of an abstract, here is a brief excerpt of the content:DEAD MAN WALKING: ON THE CINEMATIC TREATMENT OF LICENSED PUBLIC KILLING Edmund Arens University ofLucerne I regret that so many people do not understand, but I know that they have not watched the state imitate the violence they so abhor. (Sister Helen Prejean) ~T\eadMan Walking, thehighlyacclaimed second film directed by Tim -Z-^Robbins, seems appropriate for discussion in the symposium's context oíFilm andModernity: Violence, Sacrifice andReligion. This film on the (...)
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  45.  41
    Legends in Our Own Time: How Motion Pictures and Television Shows Fulfill the Functions of Myth.Elizabeth C. Hirschman - 2001 - American Journal of Semiotics 17 (3):7-46.
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  46. Theorizing the moving image.Noël Carroll - 1996 - New York: Cambridge University Press.
    A selection of essays written by one of the leading critics of film over the last two decades, this volume examines theoretical aspects of film and television through penetrating analyses of such genres as soap opera, documentary, comedy, and such topics as 'sight gags', film metaphor, point-of-view editing, and movie music. Throughout, individual films are considered in depth. Carroll's essays, moreover, represent the cognitivist turn in film studies, containing in-depth criticism of existing approaches to film theory, and heralding a (...)
  47.  57
    The Black Stork: Eugenics and the Death of "Defective" Babies in American Medicine and Motion Pictures since 1915. Martin S. Pernick.Rima D. Apple - 1997 - Isis 88 (2):369-370.
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  48.  6
    Metaphorical Motion in Crosslinguistic Perspective: A Comparison of English and Turkish.Seyda Özçalskan - 2003 - Metaphor and Symbol 18 (3):189-228.
    Situated within the framework of the conceptual metaphor theory, this article examines universal versus language-specific patterns in metaphorical motion event descriptions, comparing English and Turkish. The analysis focused on the crosslinguistic similarities and differences in the target domains and the types of metaphorical mappings that are structured by spatial motion. The data included written texts in English and Turkish. Results indicated strong crosslinguistic similarity in the target domains and the types of metaphorical mappings. Crosslinguistic variation, on the (...)
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  49.  11
    Musical Metaphors in Serbian and Romani Children: An Empirical Study.Mihailo Antovic - 2009 - Metaphor and Symbol 24 (3):184-202.
    This study tested to what extent young listeners metaphorically conceptualize basic musical relations. Ninety children aged 11 (30 attending a music school and 30 Serbian and 30 Romani children with no musical education) were played 5 stimuli with mutually opposed musical elements and asked to respond what the first and what the second one was like. Their answers were classified into metaphors according to the tenets of the conceptual metaphor theory. The results suggest an overwhelming dominance of metaphorical replies, (...)
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  50.  19
    Online Construction of Multimodal Metaphors In Murnau’s Movie Faust.José Manuel Ureña Gómez-Moreno - 2017 - Metaphor and Symbol 32 (3):192-210.
    This study explores multimodal metaphors and metonymies in Faust, a German Expressionist silent fiction movie by Murnau. The article combines principles of psychocinematics, an interdisciplinary scientific field of enquiry, with the multimodal metaphor and expressive movement model, which looks into the temporal dynamics of metaphoric meaning-making by movie watchers. It is shown that interrelating both film-analytic approaches provides a deeper and more comprehensive insight into how figurative thought influences psycho-cognitive processes in the moviegoer’s mind as they dynamically unfold in (...)
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