scholarly journals Motyw łabędzia w filmach „Piknik pod wiszącą skałą” Petera Weira i „Czarny łabędź” Darrena Aronfsky’ego

2014 ◽  
pp. 179-214
Author(s):  
Paulina Margas
Keyword(s):  
Black Swan ◽  
Main Character ◽  
Swan Lake ◽  
Initiation Process ◽  
Plot Structure ◽  
Darren Aronofsky

In the article there are described methods and functions of swan motif used in films Picnic at Hanging Rock by Peter Weir and Black Swan by Darren Aronofsky. In the work of Australian director very important on that matter are the following: the main character (Miranda), pictorial intertexts, plot structure and some of the formal elements. In Black Swan various connections between the film and Peter Tchaikovsky’s ballet Swan Lake are crucial. In the article there is also presented initiation process of both film characters, which is important for the swan motif. It is an area of comparison of these relatively different works as well. Last part of the article discusses elements of kitsch in the mentioned motif (because of considerable amount of it in low standard art) and tries to prove that methods of exploiting the swan motif by both Peter Weir and Darren Aronofsky are far from kitsch.

scholarly journals Doble e identidad en "Black Swan", de Darren Aronofsky

2014 ◽  
pp. 309
Author(s):  
Raquel Fernández Cobo
Keyword(s):  
The Body ◽  
Black Swan ◽  
Main Character ◽  
Discursive Analysis ◽  
The Subject ◽  
The Individual ◽  
Darren Aronofsky ◽  
Sobre Todo

Black Swan (2010), dirigida por Darren Aronofsky, plasma en pantalla a través del motivo del doble los elementos que constituyen la crisis del sujeto y que representan al individuo bajo el signo de la disipación. Mediante un análisis temático y discursivo examinamos cómo la protagonista, Nina Sayers, al intentar construir su propio proyecto de vida, se ve abocada a las contradicciones más agudas de la sociedad, manifestadas, sobre todo, a nivel del cuerpo, tanto en el manifiesto simbolismo del motivo del doble como en el “terror biológico” que representa al cuerpo como un objeto de consumo y manipulación más de nuestra época. Aronofsky construye una mitología moderna del cuerpo, en la cual se concibe, no como elemento de perversión y lujuria de la mujer, sino como soporte privilegiado en el que se objetivan todos nuestros deseos y también todos nuestros temores: la belleza y el erotismo constituyen sus leitmotivs esenciales en los que se esconde también lo siniestro bajo la forma de la autoflagelación y la mutilación del cuerpo. Black Swan (2010), directed by Darren Aronofsky, translates to the screen through the motif of the doppelgänger the elements that constitute the crisis of the subject and represent the individual under the sign of dissipation. Through a thematic and discursive analysis, we examine how the main character, Nina Sayers, trying to build her own live project, is doomed to the most acute contradictions in society, manifested especially at the body, both in the manifest symbolism of the motif of the doppelgänger as in the "biological terror" that represents the body as one object more of consumption and handling in our time. Aronofsky builds a modern mythology of the body, which is conceived not as an element of perversion and lust of women, but as a privileged medium on which all our desires and our fears are objectified: the beauty and eroticism are its essential leitmotifs which also hide sinister in the form of self-flagellation and mutilation of the body.

scholarly journals REPRESENTASI KEARIFAN LOKAL MASYARAKAT BANGKA DALAM CERITA RAKYAT BANDAR AKEK ANTAK (Representation of Bangkanese People Local Wisdom in Bandar Akek Antak Story)

Sirok Bastra ◽  
2019 ◽  
Vol 7 (2) ◽  
Author(s):  
Nurjanah Nurjanah ◽  
Yurdayanti Yurdayanti
Keyword(s):  
Qualitative Research ◽  
Structural Analysis ◽  
Character Education ◽  
Point Of View ◽  
Levels Of Analysis ◽  
Research Assessment ◽  
Structural Studies ◽  
Main Character ◽  
Qualitative Review ◽  
Plot Structure

AbstrakTujuan penelitian untuk mengetahui representasi kearifan lokal masyarakat Bangka melalui cerita rakyat Bandar Akek Antak. Pendekatan peneltian yang digunakan adalah pendekatan kualitatif deangan menggunakan kajian struktural. Penelitian ini bersifat deskriptif karena data yang dikumpulkan berbentuk kata atau gambar. Data dalam penelitian kualitatif berupa teks cerita rakyat Bandar Akek Antak. Pendekatan kualitatif digunakan agar dapat mengungkap kearifan lokal masyarakat Bangka yang tersurat maupun tersirat dari cerita rakyat Bandar Akek Antak. Hasil analisis meliputi dua tingkat yakni analisis struktural cerita rakyat dan analisis representasi kearifan lokal. Terdapat struktur plot, sudut pandang, latar, serta penokohan. Representasi kearifan lokal masyarakat Bangka dalam cerita Bandar Akek Antak digambarkan dengan sikap pekerja keras dalam berkebun, melakukan musyawarah mufakat dalam menyelesaikan masalah melalui karakter tokoh Antak sebagai tokoh utama dan karakter tokoh lainnya. Nilai pendidikan karakter terdapat dalam cerita Bandar Akek Antak yakni karakter religius, jujur, disiplin, kerja keras, kreatif, mandiri, serta tanggung jawab.Kata kunci: kearifan lokal, cerita rakyat, struktural AbstractThe research objective is to study the representation of local wisdom of the Bangkanese people through the folklore of Bandar Akek Antak. The research assessment used is a qualitative review using structural structure studies. This study describes descriptive, presented thus because the data collected in the form of words or images. The data in this qualitative research are in the form of Bandar Akek Antak folklore text. Qualitative guidelines are used with the aim of expressing the local wisdom of the Bangka people expressed or implied by the Bandar Akek Antak folklore with structural studies. The results of the analysis include two levels of analysis namely structural analysis of folklore and analysis of representation of local wisdom. There is a plot structure, point of view, setting, and characterization. Representation of local wisdom of the Bangka people in the Bandar Akek Antakutih story with the attitude of hard workers in gardening, holding consensus in solving problems through Antak's character as the main character and other characters. The value of character education contained in the Bandar Akek Antak story is religious, honest, disciplined, hard working, creative, independent, and responsible.Keywords: local wisdom, folklore, structural

Disciplining , Animalizing Ambition

2014 ◽  
Author(s):  
Ariel Osterweis
Keyword(s):  
Psychological Control ◽  
Late Nineteenth Century ◽  
Black Swan ◽  
Art Form ◽  
The Status ◽  
Late Nineteenth ◽  
And Performance ◽  
Alter Ego ◽  
Darren Aronofsky

By paying particular attention to the role of the dancing body inBlack Swan(2010), this chapter interrogates the status of virtuosity and performance in a film that insists on the horror of transformation.Swan Lakeis significant in dance history for introducing thefouettéturn, the modern mark of female virtuosity in ballet from the late nineteenth century onward. Director Darren Aronofsky relies upon filmic techniques to invoke the dismantling effects of ballet technique, demonstrating how the pursuit of virtuosity narrates a story of the attainment, surpassing, and failure of technique. He does so by drawing upon lowbrow “body genres” (Linda Williams) to depict an otherwise highbrow art form.Black Swanportrays artistic ambition through a ballerina’s (and Odette/Odile’s) erratic transformation from human to animal. Mirroring, doubling, and reversibility (Vivian Sobchack) are tropes for Nina (Natalie Portman) and her alter-ego. Embodied by Nina and Lily (Mila Kunis), self andotherperform a necessarily entangled pas de deux, one in which the seemingly perfect image of the other simultaneously haunts and motivates the dancer, a figure for whom psychological control diminishes as artistic control accrues.

scholarly journals Aronofsky’s Black Swan as a Postmodern Fairy Tale: Mirroring a Narcissistic Society

Humanities ◽  
2021 ◽  
Vol 10 (3) ◽  
pp. 86
Author(s):  
Margarete Johanna Landwehr
Keyword(s):  
Fairy Tales ◽  
Sexual Maturity ◽  
Fairy Tale ◽  
Contemporary Society ◽  
Black Swan ◽  
Swan Lake ◽  
Good And Evil

Based on the plot of Swan Lake, Black Swan depicts an ingenue’s metamorphosis into a woman and a prima ballerina that contains a fairy-tale plot in which a naïve heroine overcomes enemies and obstacles in order to achieve success and sexual maturity. Unlike a traditional fairy tale, this cinematic tale concludes with death and the clear distinctions between good and evil, helper and adversary and reality vs. fantasy are fluid. As in many fairy tales, the film criticizes the values of its era, namely, the narcissistic aspects of contemporary society with its excessive worship of youth, beauty and celebrity, and its most pernicious results—escape into fantasy and insanity, aggressive rivalry, violence, and self-destruction.

Aristocratic Whiteness, Body Trauma and the Market Logic of Melancholia in Black Swan

2018 ◽  
pp. 133-161
Author(s):  
Kendra Marston
Keyword(s):  
White Woman ◽  
Film Noir ◽  
Black Swan ◽  
Image Construction ◽  
Swan Lake ◽  
Critical Commentary ◽  
Artistic Representation ◽  
Classical Ballet ◽  
Historical Treatment

The fifth chapter explores Darren Aronofsky’s Black Swan as an example of a film in which Hollywood’s historical treatment of classical ballet is referenced to provide a self-reflexive and critical commentary on the role of the melancholic white woman in artistic representation. The film provides a horrific take on the ethereal and melancholic Russian ballet Swan Lake, deploying a variety of genre tropes associated with melodrama, horror and film noir in order to convey the protagonist’s increasing levels of paranoia as she loses control of her disciplined ballerina body. In doing so, Black Swan critiques the culture of competitive individualism and bodily discipline associated with neoliberal postfeminism and works to collapse the distinction between mental illness and the romanticised cultural discourse of melancholia. The film’s politics, however, are frustrated by the insistence on framing gendered pathologies in terms of white burden and by its strategic self-reflexivity in relation to Hollywood image construction.

scholarly journals Między wzniosłością a upodleniem. Obrazowanie oraz znaczenie śmierci w fantasy przygodowej i mitopoetyckiej

2018 ◽  
Vol 23 ◽  
pp. 75-91
Author(s):  
Joanna Płoszaj
Keyword(s):  
Fantasy Literature ◽  
Main Character ◽  
Lord Of The Rings ◽  
Literary Images ◽  
Moral Condition ◽  
Biological Aspects ◽  
Sword And Sorcery ◽  
Plot Structure

Literary images and functions of death in sword and sorcery and mythopoeic fantasyThis article presents and compares methods of description of death in two primary variants of fantasy literature: sword and sorcery and mythopoeic fantasy. The focus is on works of the precursors of  fantasy literature — Robert E. Howard Conan the Barbarian series and John R.R. Tolkien The Lord of the Rings, Silmarillion, and texts of authors who creatively developed two primary types of fantasy literature — Fritz Leiber Fafhrd and the Gray Mouser cycle and Ursula K. Le Guin Earthsea cycle.The analysis is divided into two parts. The first one describes methods of presentation of death and their functions in sword and sorcery literature. In this variant of fantasy many literary images of death can be found, which focus particularly on its biological aspects. The next part shows analogical elements in mythopoeic fantasy, where the descriptions of death are inspired by the medieval chansons de geste.The article shows important differences between methods of presenting of death in sword and sorcery and mythopoeic fantasy and between functions of death in this two primary types of fantasy literature. In sword and sorcery the descriptions of death have great importance in the adventure plot structure, because they are connected with activities and adventures of the main character. In mythopoeic fantasy the kind of a character’s death often shows moral condition of this character. Moreover, death in mythopoeic fantasy is important for the balance and stability of created world.

Interactive Experience and Identification as Predictors of Attributing Responsibility in Video Games

2018 ◽  
Vol 30 (1) ◽  
pp. 3-15
Author(s):  
Nathan Walter ◽  
Yariv Tsfati
Keyword(s):  
Video Game ◽  
Psychological Research ◽  
External Factors ◽  
Theoretical Expectation ◽  
Main Character ◽  
Attribution Of Responsibility ◽  
Attributions Of Responsibility ◽  
Violent Video Game ◽  
Grand Theft Auto Iv ◽  
Interactive Experience

Abstract. This study examines the effect of interactivity on the attribution of responsibility for the character’s actions in a violent video game. Through an experiment, we tested the hypothesis that identification with the main character in Grand Theft Auto IV mediates the effect of interactivity on attributions of responsibility for the main character’s antisocial behavior. Using the framework of the fundamental attribution error, we demonstrated that those who actually played the game, as opposed to those who simply watched someone else playing it, identified with the main character. In accordance with the theoretical expectation, those who played the game and came to identify with the main character attributed the responsibility for his actions to external factors such as “living in a violent society.” By contrast, those who did not interact with the game attributed responsibility for the character’s actions to his personality traits. These findings could be viewed as contrasting with psychological research suggesting that respondents should have distanced themselves from the violent protagonist rather than identifying with him, and with Iyengar’s (1991) expectation that more personalized episodic framing would be associated with attributing responsibility to the protagonist.

Ignoring a Main Character: A Rookie Director’s Mistake

PsycCRITIQUES ◽  
2011 ◽  
Vol 56 (20) ◽  
Author(s):  
C. Albert Bardi
Keyword(s):  
Main Character
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