A Metacinematic Spectrum

2021 ◽  
pp. 63-84
Author(s):  
Garrett Stewart

Metacinematic moments in screen narrative regularly turn attention back toward film’s point of material origination—from story to the conditions of its technical mediation—without turning their back either on the plot or its cultural surround. This double slant of the screen story, both back toward medial operations and outward toward some thematic interface with its social setting, is what this chapter sets out to discriminate in its “technique\text/context” articulation. Revisiting moments of medial self-acknowledgment in films from Citizen Kane through Apocalypse Now to Blade Runner 2049 prepares terms for assessing a late installment in one of Hollywood’s ongoing CGI franchise blockbusters, Marvel’s Spiderman: Far from Home (2040). In that sci-fi plot both digital technique and context implode upon the developing narrative text in the irony of an international political deception perpetrated by Hollywood-schooled VFX (visual special effects) when deployed, not on some inset screen, but in real metropolitan space.

Author(s):  
Sean Redmond

Ridley Scott's 1982 film Blade Runner is now widely recognized as an undisputed masterwork of science-fiction cinema and one of the most influential films released in the last forty years. Yet on its original release, it was both a critical and commercial failure, criticized for its perceived prioritizing of style over content and a narrative that did not deliver the anticipated high-octane action that its star casting and large budget normally promise. How did a film that was removed from circulation within a month of its premiere come to mean so much to modern audiences and provide such a rich seam of material for film and media studies? This book excavates the many significances of the film — its breakthrough use of special effects as a narrative tool; its revolutionary representation of the future city; its treatment of racial and sexual politics; and its unique status as a text whose meaning was fundamentally altered in its re-released Director's Cut form, then further revised in a Final Cut in 2007, and what this means in an institutional context.


Mahakim ◽  
2020 ◽  
Vol 4 (1) ◽  
pp. 11-24
Author(s):  
Nastangin Nastangin

Rules for marriage restrictions are regulated in the Number Marriage Act. 1 of 1974 from Article 8-10 and also regulated in the Compilation of Islamic Law in Article 39, namely the prohibition forever and Article 40-44, namely a temporary ban. The broad outline, the contents of the rules on the marriage restrictions are same, namely the prohibition of marriage with idolaters, marrying a woman who is still in the iddah period, marrying a stepmother, due to blood relations, intercession, stepchildren who are adherent with their mother, collecting two woman (muhrim). The purpose of this paper is to find out about the nature of the rules of marriage prohibition using the Philosophy approach of Islamic Law by explaining the nature and wisdom of its formal object. The conclusion of this paper is that there are rules for marriage restrictions to provide benefits to the community and someone who wants to get married because of the existence of these rules that not everyone can be married. This research is library research (Library Research) by analyzing various sources of laws relating to the prohibition of marriage. This research is also qualitative research. According to Satori, qualitative research is descriptive because it describes an object, phenomenon, or social setting that is translated into a narrative text. In line with the opinions of Surjono and Abdurahman, Dyah Ochtorina Susanti and A’an Efendi assert that doctrinal law research is systematic research on the rule of law regulate in certain areas of law, analyzing the relationship between one rule and another, explaining the difficult parts to be understood from a certain rule of law, it may even include predictions of the development of a certain rule of law in the future.


2021 ◽  
Vol 03 (06) ◽  
pp. 177-188
Author(s):  
Anwar Abed SHATI

Montage is one of the basic elements in cinematographic work, as it is a second production process for the work in terms of composition, habit of formulation, interconnection between shots and scenes, and also added the element of sound, special effects and color correction ... etc., due to the characteristic of this digital technique in manipulating all the elements of the image in a creative way in all Elements of work, such as decoration, accessories, adding fictional scenes ... etc., and converting them to the computer, and then acting on them through the montage completely, but this is in the field of image and sound, but there are fictional films that need to make characters who are compatible with nature, and possess capabilities Superhero and has the ability to transform into virtual bodies within the artistic work, and insert them into the cinematic space, in order to perform the functions with the rest of the elements of the cinematic medium as well as the elements of the dramatic construction, so all of the above of this the researcher raises the following question: (How is digital montage employed? In building a fictional character)? The research came as follows: Methodological framework: It includes the research problem, its importance and objectives, as well as the limits of research and the definition of terminology. The theoretical framework: It was divided into two topics as follows: The first topic: the concept of digital montage, the second topic: the fictional character: After that, the researcher reached the indicators of the theoretical framework. Research procedures: It included the research method, the research community, the research sample, the research tool, the analysis unit, and the sample analysis, which was the film (X MEN) according to the indicators that the researcher came out with from the theoretical framework. After analyzing the sample, the researcher came to a number of findings and conclusions, including: 1. The digital montage, through its advanced software, possesses the ability to create a fictional virtual character and activate its potential in the cinematic movie. 2. Digital montage can be employed after dispensing with many traditional techniques at the level of photography or montage, as well as building space and time.


PsycCRITIQUES ◽  
2012 ◽  
Vol 57 (14) ◽  
Author(s):  
Gordon Pitz
Keyword(s):  

2010 ◽  
Vol 1 ◽  
pp. 167-192
Author(s):  
Lea Sawicki

The article deals with the use of simplex and compound (prefixed) verbs in narrative text. Main clauses comprising finite verb forms in the past and in the past habitual tense are examined in an attempt to establish to what extent simplex and compound verbs exhibit aspect oppositions, and whether a correlation exists between the occurrence of simplex vs. compound verbs and distinct textual units. The investigation shows that although simple and compound verbs in Lithuanian are not in direct aspect opposition to each other, in the background text portions most of the verbs are prefixless past tense forms or habitual forms, whereas in the plot-advancing text portions, the vast majority of verbs are compound verbs in the simple past tense.  


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