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In quanto possibile strumento di comunicazione intenzionale fra un emittente e un ricevente, il cinema si può considerare un linguaggio. Ma, se è così, com’è possibile comprendere questo linguaggio? E’ forse necessario postulare l’esistenza di un lingua del cinema: cioè di un sistema di segni, basato su convenzioni e articolato per mezzo di una grammatica? Scartata come semplicistica l’idea che un film si possa capire solo in quanto duplicazione di una preesistente messa in scena, innumerevoli teorizzazioni hanno supposto che una lingua del cinema dovesse esistere, cercandone la struttura morfologica e sintattica. La tesi sostenuta in questo libro è invece che il cinema narrativo, per essere comprensibile, non abbia bisogno né di una semantica, né di una sintassi, ma solo di una pragmatica. Una teoria pragmatica sufficientemente potente da specificare anche le regole che presiedono all’intepretazione di un racconto filmico fu elaborata - come è mostrato in questo volume - dal filosofo inglese Paul Grice in un importante articolo dal titolo “Logic and conversation”.

Dialogue in motion pictures --- Discourse analysis --- Motion pictures

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"Writing Compelling Dialogue for Film and TV is a practical guide that provides screenwriters with a clear set of exercises, tools, and methods to raise your ability to hear and discern conversation at a more complex level, in turn allowing you to create better, more nuanced, complex and compelling dialogue. The process of understanding dialogue writing begins with increasing writers' awareness of what they hear. This book provides writers with an assortment of dialogue and language tools, techniques, and exercises and teaches them how to perceive and understand the function, intent and thematic/psychological elements that dialogue can convey about character, tone, and story. Text, subtext, voice, conflict, exposition, rhythm and style are among the many aspects covered. This book reminds us of the sheer joy of great dialogue and will change and enhance the way writers hear, listen to, and write dialogue, and along the way aide the writers' confidence in their own voice allowing them to become more proficient writers of dialogue. Written by veteran screenwriter, playwright, and screenwriting professor Loren-Paul Caplin, Writing Compelling Dialogue is an invaluable writing tool for any aspiring screenwriter who wants to improve their ability to write dialogue for film and television, as well as students, professionals, and educators"--

Motion picture authorship. --- Television authorship. --- Dialogue in motion pictures.

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"Written in an engaging and lucid style, the book offers an insightful, up-to-date analysis of scripted conversation in cinematic discourse. The author convincingly shows how fictional figures construct the narrative, paying attention to embodied nuances of the characters' on-screen interactions. The book will be much appreciated by all scholars and students working in the socio-interactional paradigm and will also be welcome by those with an interest in stylistics, conversation analysis and multimodal studies". - Jan Chovanec, Professor of English Linguistics, Masaryk University in Brno, Czech Republic This book analyses and describes a segment of Woody Allen's cinematic discourse, focusing specifically on the performed (or diegetic) interactions between actors in various roles in some of his films. It is a case study of Woody Allen's cinematic discourse, encompassing the on-screen, performed interaction in the films at the level of the story-world. The analysis focuses on speech (film dialogues), in both its verbal and prosodic forms, as well as non-verbal types of interaction including gaze and gesture, taking a social interactional approach and using multimodal conversation analysis as a theoretical framework and analytical tool. The 'texts' under study are segments from five films by Woody Allen, and the analysed interactions take place between male and female interactants, which allows further examination of on-screen interactions via a gender lens. The book aims to bridge the gap between the disciplines of applied linguistics and cinema studies and offer linguistic insights into performed interactions from a multimodal point of view. It will be equally relevant to linguists who are interested in how verbal and non-verbal language is used in cinematic discourse, as well as to film workers, especially actors, directors and screenwriters. Neda Chepinchikj is a linguist working at the University of New South Wales (UNSW), Sydney, Australia. She holds a PhD in applied linguistics, educational linguistics and screen and media culture from the University of Melbourne. This is her first book, which is based on her PhD thesis.

Film --- Theatre management --- Recreation. Games. Sports. Corp. expression --- Linguistics --- linguïstiek --- Dialogue in motion pictures. --- Dialogue in motion pictures --- Translating.

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What happens when fictional characters acknowledge our 'presence' as film spectators? By virtue of its eccentricity and surprising frequency as a filmic device, direct address enables us to ask some fundamental questions of film theory, history and criticism and tackle, head-on, assumptions about the cinema as a medium. Brown provides a broad understanding of the role of direct address within fiction cinema, with focused analysis of its role in certain strands of avant-garde or experimental cinema, on the one hand, and popular genre traditions (musicals and comedies) on the other.

Film --- Motion pictures --- Dialogue in motion pictures. --- Film dialogue --- Movie dialogue --- History. --- History and criticism

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Since the birth of cinema, film has been lauded as a visual rather than a verbal medium; this sentiment was epitomized by John Ford's assertion in 1964 that, ""When a motion picture is at its best, it is long on action and short on dialogue."" Little serious work has been done on the subject of film dialogue, yet what characters say and how they say it has been crucial to our experience and understanding of every film since the coming of sound.

Translation science --- Film --- Dialogue in motion pictures. --- 82:791.43 --- 82:791.43 Literatuur en film --- Literatuur en film --- Dialogue in motion pictures --- Film dialogue --- Movie dialogue --- Motion pictures --- Pragmatics --- CDL --- 791.44