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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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Dialogue in motion pictures. --- Dialogue in motion pictures --- Translating. --- Film dialogue --- Movie dialogue --- Motion pictures
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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.
Dialogue in motion pictures. --- Dialogue in motion pictures --- Film --- Music, Dance, Drama & Film --- Film dialogue --- Movie dialogue --- Motion pictures
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O'Meara highlights how speech can be central to cinema without overshadowing its medium-specific components, and demonstrates how indie dialogue can instead hinge on an idea of cinematic verbalism.
Dialogue in motion pictures. --- Independent films --- Indie films --- Motion pictures --- Film dialogue --- Movie dialogue --- History and criticism.
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Etude consacrée à la place du dialogue dans le cinéma, dont l'importance et la forme ont beaucoup évolué depuis les années soixante : monologue, paroles chantées, voix off ... La première partie, théorique, étudie les caractéristiques du dialogue alors que la seconde est constituée de textes, de documents et d'analyses de plans.
Dialogue in motion pictures --- 791.42 --- CDL --- Film dialogue --- Movie dialogue --- Motion pictures --- Scenario --- Film --- Cinema --- Dialogue --- Ecriture --- Mise --- Scene --- Voix --- Narration --- Texte
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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
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This cutting-edge collection of articles provides the first organised reflection on the language of films and television series across British, American and Italian cultures. The volume suggests new directions for research and applications, and offers a variety of methodologies and perspectives on the complexities of "telecinematic" discourse - a hitherto virtually unexplored area of investigation in linguistics. The papers share a common vision of the big and small screen: the belief that the discourses of film and television offer a re-presentation of our world. As such, telecinematic texts reorganise and recreate language (together with time and space) in their own way and with respect to specific socio-cultural conventions and media logic. The volume provides a multifaceted, yet coherent insight into the diegetic - as it revolves around narrative - as opposed to mimetic - as referring to other non-narrative and non-fictional genres - discourses of fictional media. The collection will be of interest to researchers, tutors and students in pragmatics, stylistics, discourse analysis, corpus linguistics, communication studies and related fields.
Mass communications --- Film --- Pragmatics --- Dialogue in motion pictures --- Discourse analysis --- Television broadcasting --- Telecasting --- Television --- Television industry --- Broadcasting --- Mass media --- Discourse grammar --- Text grammar --- Semantics --- Semiotics --- Film dialogue --- Movie dialogue --- Motion pictures --- Language --- Dialogue in motion pictures. --- Discourse analysis. --- Language.
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Il s'agit dans ce livre d'approcher une langue " la langue-française-à-l'écran " que l'on n'entend au cinéma. A partir dune trentaine de films depuis les débuts du parlant jusqu'à aujourd'hui, organisés chronologiquement, Michel Chion consacre cet essai à la lettre des filmes, à leur texte, au " ras du signifiant ", comme les dialogues permettent de le mettre en avant. Mais pourquoi Cyrano de Bergerac ? et de quel complexe souffre ce héros national ?. Le Cyrano de Rostand est un individualiste écorché qui joue de la bravoure verbale, lance des défis alors qu'il est tout autant fasciné par l'échec : il brille par ses mots, mais il perd tout et s'en vante. Comme si le langage servait moins à obtenir une chose qu'à l'affirmer, tout simplement. En cela il est représentatif de nombre de personnages du cinéma français, perdants au verbe haut ou perdants piteux, mais perdants avant tout sur le plan du langage. Pour citer quelques exemples : la mort le défi aux lèvres de Michel Poiccard dans A bout de soue ; Alexandre le dandy du film d'Eustache La Maman et la Putain, Louis Jouvet dans Hôtel du Nord, Arletty solitaire malgré sa gouaille dans Les Enfants du paradis, le De Boeldieu de La Grande Illusion que ni ses formules caustiques ni ses gants blancs n'empêcheront de se faire tuer, Le Corbeau qui tue et se fait assassiner pour des phrases ; même Antoine Doinel et l'Antoine de La Discrète, hâbleurs plutôt que gagneurs. Et que dire de Brice de Nice, éternel perdant. Ce fil conducteur amène à tracer de nouvelles correspondances entre des films qui témoignent des mêmes problématiques quant ils paraissaient si opposés. Les hiérarchies sont bousculées et le décalage du point de vue adopté par l'auteur révèle une certaine unité du cinéma français, fait ressortir ses constances à travers l'histoire et ses ruptures. Une vision neuve pour mieux goûter les savoureux dialogues du cinéma français qui émaillent le propos.
Motion pictures --- Dialogue in motion pictures --- French language --- Cinéma --- Dialogue au cinéma --- Français (Langue) au cinéma --- Aesthetics --- Semiotics --- In motion pictures --- Esthétique --- Sémiotique --- Dialogue in motion pictures. --- Cinéma --- Dialogue au cinéma --- Français (Langue) au cinéma --- Esthétique --- Sémiotique --- Aesthetics. --- CDL --- 791.41 --- Film dialogue --- Movie dialogue --- Cinema --- French Language --- 20th-21st Century --- Critical Studies --- Dialogue (cinéma) --- Films --- Motion pictures - France. --- Dialogue (cinéma)
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Film --- anno 1970-1979 --- Dialogue in motion pictures. --- Incongruity in motion pictures --- Motion picture plays --- Narration (Rhetoric) --- Motion pictures --- Dialogue au cinéma --- Incongruité au cinéma --- Scénarios de cinéma --- Narration --- Cinéma --- History and criticism. --- History --- Histoire et critique --- Histoire --- film --- filmgeschiedenis --- Hollywood --- narratologie --- seventies --- dialogen --- filmdialogen --- Verenigde Staten --- twintigste eeuw --- Coppola Francis Ford --- The Godfather --- Friedkin William --- The Exorcist --- Scorsese Martin --- Taxi driver --- Cassavetes John --- 791.43 --- Dialogue au cinéma --- Incongruité au cinéma --- Scénarios de cinéma --- Cinéma --- Dialogue in motion pictures --- Narrative (Rhetoric) --- Narrative writing --- Rhetoric --- Discourse analysis, Narrative --- Narratees (Rhetoric) --- Film dialogue --- Movie dialogue --- History and criticism
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Film --- Auteur (cinéma) --- Dialogue (cinéma) --- Motion picture authorship. --- Dialogue in motion pictures. --- film --- scenario's --- narratologie --- Citizen Kane --- Mankiewicz Herman J. --- Welles Orson --- Sunset boulevard --- Wilder Billy --- Casablanca --- Epstein Julius J. --- Epstein Philip G. --- Koch Howard --- North by northwest --- Lehman Ernest --- Jules et Jim --- Truffaut François --- Gruault Jean --- Lolita --- Nabokov Vladimir --- Kubrick Stanley --- Goldfinger --- Maibaum Richard --- Dehn Paul --- The graduate --- Willingham Calder --- Henry Buck --- Midnight cowboy --- Salt Waldo --- Chinatown --- Towne Robert --- Annie Hall --- Allen Woody --- Brickman Marshall --- Breaking away --- Tesich Steve --- When Harry met Sally --- Ephron Nora --- The fisher king --- LaGravanese Richard --- Thelma & Louise --- Khouri Callie --- Toy story --- Whedon Joss --- Stanton Andrew --- Lasseter John --- Docter Pete --- Ranft Joe --- Sokolow Alec --- Good will hunting --- Damon Matt --- Affleck Ben --- Ordinary people --- Sargent Alvin --- American beauty --- Ball Alan --- Midnight in Paris --- 791.44 --- Dialogue in motion pictures --- Motion picture authorship --- Epstein Julius J --- Epstein Philip G --- Mankiewicz Herman J --- Film authorship --- Film-making (Motion pictures) --- Film scriptwriting --- Filmmaking (Motion pictures) --- Motion picture plays --- Motion picture scriptwriting --- Motion picture writing --- Motion pictures --- Movie-making --- Moviemaking --- Moving-picture authorship --- Screen writing --- Screenplay writing --- Screenwriting --- Scriptwriting, Film --- Scriptwriting, Motion picture --- Film dialogue --- Movie dialogue --- Authorship --- Play-writing --- Screenwriters --- Auteur (cinéma) --- Dialogue (cinéma)
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