scholarly journals The Influence of the Painting Tradition on Derek Jarman’s Films

2016 ◽  
Vol 8 (3) ◽  
pp. 84-94
Author(s):  
Irina V Denisova
Keyword(s):  
Julia Kristeva ◽  
Francis Bacon ◽  
Emotional Impact ◽  
Semiotic System ◽  
Feature Films ◽  
Film Directors ◽  
Thomas Eakins ◽  
Derek Jarman ◽  
Inner Dialogue ◽  
Film Perception

The article aims at revealing intertextual references to paintings woven into feature films by the British director Derek Jarman (1942-1994). The author explores various manifestations of intertextuality from direct citations to reminiscences, which allow to emphasize the continuity of film-directors work, the connection of its aesthetics, composition, film mood with the original fine art source paintings. The target is to enhance the emotional impact on the viewer. The concept of intertextuality has undergone significant changes since its introduction to the research usage by the poststructuralist French theorist Julia Kristeva. This term has gone beyond the literary discourse and has begun to be used in the analysis of all the semiotic formations to describe the interaction of both verbal and non-verbal texts. In this regard, it is important to analyze and reveal the intertextual references to paintings woven into feature films made by a British director Derek Jarman whose works are insufficiently explored in Russia. Intertextuality is a characteristic feature of Jarmans creative style that seeks to blur the clear distinction between painting and cinema. Analysing the influence of such artists as Michelangelo Merisi da Caravaggio, Piero della Francesca, William Turner, Ford Madox Brown, Thomas Eakins and Francis Bacon on Jarman, the author reveals the interconnection between the directors aesthetics, composition, mood, light and shade frame modeling and the original paintings. Derek Jarman uses a variety of intertextual references from direct citations to reminiscences affecting the visual associative row of the audience and their film perception, emphasizing the continuity of his work. The intertextual references seek to enhance the emotional impact on the viewers, to recreate the mood of the epoch and its atmosphere, to aggravate the tragedy of the situation. The metaphors and allusions greatly expand the spatial and temporal characteristics of Jarmans films. Numerous intertransitions from one semiotic system to another fill his films with inner dialogue and strengthen semantic polyphony of meaning.

Identity Stealing Attacks

2011 ◽  
pp. 119-128
Author(s):  
Lech J. Janczewski ◽  
Andrew M. Colarik
Keyword(s):  
Terrorist Attacks ◽  
Feature Films ◽  
Film Directors ◽  
It Managers

In recent years, several feature films have been produced based on the concept of stealing an identity. As a result of deliberate or accidental changes to personal records, a person can cease to exist on paper, or someone else can acquire a person’s identity. These film directors’ concepts are not products of their rich imaginations, but are a reflection of reality. Quite often, we read about such accidents happening. Stealing an identity is a favorite step in the preparation of terrorist and cyber-terrorist attacks, and all of us, IT managers in particular, should be vigilant about such possibilities.

Exploring discourse on globalizing English

English Today ◽  
2009 ◽  
Vol 25 (1) ◽  
pp. 25-36 ◽  
Author(s):  
Alexander Onysko
Keyword(s):  
Foreign Language ◽  
Language Contact ◽  
Julia Kristeva ◽  
Speech Community ◽  
Human Communication ◽  
Semiotic System ◽  
Speech Communities ◽  
Linguistic Unit ◽  
Linguistic Units

ABSTRACTA case study of discourse on anglicisms in German.“By recognizing our uncanny strangeness, we shall neither suffer from it nor enjoy it from the outside. The foreigner is within me, hence we are all foreigners. If I am a foreigner, there are no foreigners.” (Julia Kristeva, Strangers to Ourselves (1991)).Is Kristeva's dissolution of the notion ‘foreign’ also applicable to language? The nature of language as a semiotic system of arbitrarily bound units of meaning and form determines the essential foreignness of signifier and signified. As such, every linguistic unit is indeed intrinsically foreign on the level of designation and, thus, there is no foreign language. On the surface of human communication, however, incomprehensibility among speakers can emerge as a criterion of foreignness. The perception of the foreign in language is particularly tied to situations of contact between different language-cultural areas. Such contact can occur internally in a multilingual speaker or can be observed externally as happening in the speech community. In both ways, crucial to language contact is a perceived intertwining of linguistic units from at least two distant, i.e. incomprehensible, codes culturally rooted in diverse speech communities.

scholarly journals Helada, congelada, golpeada: mujer y política en La cordillera (2017), de Santiago Mitre

2021 ◽  
Author(s):  
María Valdez
Keyword(s):  
Ludwig Wittgenstein ◽  
Julia Kristeva ◽  
Derek Jarman ◽  
Estudio De Caso

El presente trabajo examina la vinculación entre mujer y política en el film argentino La cordillera (2017, Santiago Mitre). Se propone la definición de suprematismo trastornado para dar cuenta del trabajo de la puesta en escena del film, con el objeto de analizar la patologización de la mujer y su relación con la pauperización de la política. Por ende, se abreva en conceptos y/o postulaciones teórico-críticas específicas sobre el trauma, la melancolía y la depresión (Anne Dufourmantelle, Julia Kristeva, Georges DidiHuberman, por ejemplo) pero también sobre la teoría estética y del color (Ludwig Wittgenstein, Derek Jarman, Kazimir Malévich, entre otros) para dar cuenta de este proceso. Este estudio de caso se enmarca en un estudio mayor respecto de la trilogía fílmica de Santiago Mitre (El estudiante, La patota y La cordillera) como síntoma de la depreciación del sentido de la política en el cine argentino y su concomitante reflejo en la desvalorización, humillación y/o castigo de la mujer.

Emotional Impact Feedback Changes How We Remember Negative Autobiographical Experiences

2010 ◽  
Vol 57 (5) ◽  
pp. 354-359 ◽  
Author(s):  
Melanie K. T. Takarangi ◽  
Deryn Strange
Keyword(s):  
Well Being ◽  
The Other ◽  
Personal Perspective ◽  
Emotional Impact ◽  
Potential Mechanism ◽  
Negative Experiences ◽  
Negative Memory ◽  
The Relationship ◽  
Negative Memories ◽  
Over Time

When people are told that their negative memories are worse than other people’s, do they later remember those events differently? We asked participants to recall a recent negative memory then, 24 h later, we gave some participants feedback about the emotional impact of their event – stating it was more or less negative compared to other people’s experiences. One week later, participants recalled the event again. We predicted that if feedback affected how participants remembered their negative experiences, their ratings of the memory’s characteristics should change over time. That is, when participants are told that their negative event is extremely negative, their memories should be more vivid, recollected strongly, and remembered from a personal perspective, compared to participants in the other conditions. Our results provide support for this hypothesis. We suggest that external feedback might be a potential mechanism in the relationship between negative memories and psychological well-being.

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