About some aspects of creating an emotive "communicative portrait" of a character in scripts and film texts

Art Logos ◽  
2021 ◽  
pp. 35-45
Author(s):  
G.S. Pavlovets
Keyword(s):  
Film Texts

scholarly journals The works of Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s

2021 ◽  
pp. 19-29
Author(s):  
Mariya Vladimirovna Kalenichenko
Keyword(s):  
Social Life ◽  
Popular Science ◽  
Time Period ◽  
Film Directors ◽  
Archival Documents ◽  
Art And Culture ◽  
History Of ◽  
Film Texts ◽  
Scientific Achievements

This article is dedicated to examination of works of the film directors of the Leningrad popular science film studio “Lennauchfilm” in the 1970s – 1980s. Based on the archival documents presented in the Central Archive of Literature and Art of Saint Petersburg, the author analyzes the work of the film studio: carries out classification of filmography by formal-semantic criterion, as well as determines the key processes typical to this time period. The following main trends are highlighted: natural science, technical-propagandistic, historical-revolutionary, military-patriotic, social life, history of art and culture. Special attention is given to the films that cover the topics, which have not previously been included in the field of popular science cinematography. The novelty of this research lies in classification of the thematic trends of the Leningrad film studio as an integral artistic system, as well as in comparison of the plots of popular science film texts by each direction over the two decades. As a result, the author identified the main trends, which broadened the thematic field in the work of the studio, as well as fundamentally changed the representations on the goals and tasks of popular science cinematography. The key object of popular science cinematography is being shifted during the Perestroika period. Emphasis is place not on science and technological achievements, but human and society. Film directors through their works conveyed the attitude of society towards science, raising the questions of transformation of ethics and morality in the context of scientific and technological revolution. The idea of the harm of scientific achievements and responsibility of the scholars before society is being advanced. Without any doubt, the works of the Leningrad film directors broadened the ideological-artistic range by offering the own vision of specificity of the Soviet popular science cinematography.

scholarly journals Translating Proverbs in the Mate ras Mate Film Texts from Karonese Language into English

2019 ◽  
Vol 13 (3) ◽  
pp. 173
Author(s):  
Milisi Sembiring ◽  
Vivi Novalia Sitinjak
Keyword(s):  
Qualitative Research ◽  
Target Language ◽  
Translation Method ◽  
Source Language ◽  
Literal Translation ◽  
Cultural Terms ◽  
Film Texts ◽  
Film Text

The research aimed to explore the problems and the solutions in translating proverbs in the SL into the TL. This research applied a qualitative research and supported by cultural and translation analyses. The data were collected from the dialogues of Ngapul and Yerti in the film of “Mate ras Mate”. The Karonese proverbs in the MRM film texts were the source language (SL). The researchers translated the SL and found out their equivalents in the target language (TL) in English. The data for this research were gathered from its film text. After collecting the proverbs in film, the researchers identified and translated them into English. The researchers applied the translation procedures of cultural equivalent, paraphrase, descriptive equivalent, and literal translation method to translate the proverbs in the SL into the TL. The result shows that many Karonese proverbs and cultural terms in the SL have no equivalent in the TL.

scholarly journals Kompleksnyy podkhod k issledovaniyu ekonomicheskogo kinodiskursa

2021 ◽  
Vol 13 (2) ◽  
pp. 47-57
Author(s):  
Alexandra A. Lukina ◽  
Keyword(s):  
Total Duration ◽  
Main Idea ◽  
Target Audience ◽  
Business English ◽  
Public Speech ◽  
Economic Discourse ◽  
Business Negotiations ◽  
Film Texts ◽  
Key Terms ◽  
Film Discourse

The article is devoted to a comprehensive study of the economics film discourse. Eleven feature films and documentaries of the economic genre in the English and Russian languages (total duration – 1,221 minutes) served as the material for the research. The article provides an overview of linguistic studies of the economic discourse over the past 20 years, describing three forms of its existence and functioning: scientific economic discourse, official business economic discourse, and popular economic discourse. Further, the author substantiates the feasibility of using film texts as material for linguistic research into the economic discourse, as well as its advantage – the possibility of studying three modes: oral, written, and gestural. The paper presents the following typological aspects of the economics film discourse: target audience, participants in communication, communication code, topic and precedent texts as the main idea. Based on those, the author identifies and describes the target audience of economics films, three binary models of interaction between participants in economic communication and their features. Further, the paper presents typological variety of discourses in which economic communication unfolds. There are considered everyday discourse, mass information discourse, and business discourse. In the last one, the author identifies the following genres: business conversation, business negotiations, office meeting, public speech, presentation, business discussion, press conference, business correspondence. In addition, the author has compiled terminological maps for economics films with the identification of key terms that determine the subject matter and the main problem of each film. The results of the analysis can be used not only in further research in the field of discourse and textual analysis but also as a basis for the formation of lecture and practical materials to be used for the course of business English and in the training of translators in the field of economics.

Immigration, Race, and Ethnicity in American Film

2014 ◽  
Author(s):  
Steven Carr
Keyword(s):  
Race And Ethnicity ◽  
East Coast ◽  
Cultural Practices ◽  
Film History ◽  
Future Research ◽  
American Film ◽  
Racial Identities ◽  
History Of ◽  
Race Ethnicity ◽  
Film Texts

The rise of the American motion picture corresponds to the influx of immigrants from Eastern and Southern Europe. Just as many of these immigrants initially settled in East Coast and Midwest cities, both movies and movie audiences emerged there as an urban phenomenon. Rather than view this phenomenon only in terms of the images that films of this era offered, this chapter proposes to move beyond a “reflection paradigm” of film history. Of course, film texts reflected immigrant, ethnic, and racial identities. But these identities also existed beyond the text, across movies and movie-going, and embedded within diffuse, multiple, and overlapping networks of imagined relationships. Using Bakhtin’s concept of the chronotope, this chapter recounts some preliminary case studies involving race, ethnicity, and immigration to explore how future research in this area might probe the cultural practices of movie-going among diverse audiences during the first half of the twentieth century.

EXPLICATION AND IMPLICATION WHEN DUBBING ENGLISH FILMS INTO UKRAINIAN

2020 ◽  
Vol 2020 (31) ◽  
pp. 294-311
Author(s):  
Tetiana Korolova ◽  
Tetiana Noriak
Keyword(s):  
National Culture ◽  
Sociocultural Factors ◽  
Translation Practice ◽  
Translation Techniques ◽  
Word Forms ◽  
English Speaking ◽  
Film Texts ◽  
Communicative Effect ◽  
National Stereotypes

The work is devoted to the analysis of the features of the dubbing process of English films into Ukrainian; special attention is paid to peculiarities of lexical semantics in the translated variants. The work is of experimental character: the total time of the researched material is 3000 minutes. Among the established factors of pragmatic adaptation in the process of the film translation the most important one is the capability to reflect socio-cultural realities of the English-speaking community in the Ukrainian language. The adequacy and quality of the translation must produce the same communicative effect on the Ukrainian-speaking audience, which is aimed at the English-speaking audience. An adequate translation preserves speech behavior, political and economic realities. Special attention is paid to the use of explication and implication techniques in the translation practice of dubbing. Both types of translation techniques are used in English-Ukrainian patterns. The explication of a word’s semantics can be structural or contextual. By structural explication we mean the introduction of additional word forms, caused by grammatical and sociocultural factors. In Ukrainian translations, there is a tendency for the widespread use of explication, in order to adequately reflect the meaning of communicative units and preserve a pragmatic impact on the audience. The implication is rarely used in Ukrainian film-texts; it is caused not only by the need to synchronize the lipsing of the original and the translation, but also by the absence of certain cognitive phenomena in the national culture consciousness of the Ukrainians. The undoubted advantage in the palette of the Ukrainian dubbing of communicative means is associated with the traditions of the Ukrainian dubbing school, which is characterized by the greatest flexibility in observing national stereotypes, the maximum domestication of other peoples’ realities. The Ukrainian actor, when portraying a foreigner, imposes serious restrictions on his own manner of reproducing the Ukrainian communicative system.

Embodied Engagements

2018 ◽  
pp. 157-187
Author(s):  
Uma Maheswari Bhrugubanda
Keyword(s):  
Religious Practice ◽  
Special Focus ◽  
Affective Engagement ◽  
Film Texts ◽  
Film Viewing

Through ethnographic explorations of the question of viewership, this chapter shifts the focus from film texts to film-viewing contexts. It critically reflects upon the embodied character of viewer engagement with mythological and devotional cinema through a special focus on the figure of the possessed spectator. It theorizes the interesting intersections between film viewership and religious practice through the concept of habitus. It engages with the question, does affective engagement necessarily preclude critical and rational engagement with the narrative? It argues that viewers bring with them to the cinema embodied dispositions and sensibilities, that is, a particular habitus that has been cultivated in traditional performative contexts and this shapes their responses. However, this does not necessarily render them passive or uncritical in their engagement with film.

Introduction

Making Icons ◽  
2017 ◽  
Author(s):  
Jennifer Coates
Keyword(s):  
Cultural Production ◽  
Affect Theory ◽  
Theoretical Framework ◽  
Social Changes ◽  
Popular Film ◽  
Case Study Analysis ◽  
Film Texts ◽  
Repeated Motifs ◽  
Sample Case

The introduction describes the historical contexts and theoretical framework of the book, beginning with an outline of the method of research. A brief literature review of affect theory in the Japanese context is followed by an introduction to Yoshimoto Takaaki’s Communal Fantasies (Kyōdōgensō ron, 1968). Giles Deleuze’s Difference and Repetition (1968) is juxtaposed with Yoshimoto’s philosophical investigation of repeated tropes in Japanese cultural production to form a theoretical framework for the analysis of selected repeated motifs in female cinematic representation that follows. Social changes during the occupation of Japan (1945-1952), particularly as regards roles and rights for women, are presented as key socio-political and historical contexts for the analyses of popular film texts which follow. The chapter concludes with a sample case study analysis of Mizoguchi Kenji’s Five Women Around Utamaro (1946).

scholarly journals Yeah, that’s it!: Verbal Reference to Visual Information in Film Texts and Film Translations

2008 ◽  
Vol 53 (1) ◽  
pp. 6-25 ◽  
Author(s):  
Nicole Baumgarten
Keyword(s):  
Visual Information ◽  
English Language ◽  
Motion Pictures ◽  
German Language ◽  
Narrative Construction ◽  
Verbal Information ◽  
Spoken Discourse ◽  
Film Texts ◽  
The Relationship ◽  
Verbal Utterance

Abstract This article presents an account of the meaning relationship between visual and verbal information in film and the differences between the conventions of making verbal reference to visual information in English films and their German-language versions. The analysis of a diachronic corpus of popular motion pictures and their German-dubbed versions indicates that the film translations ‘handle’ the co-occurring visual information differently than their English source texts. The translations tend to use alternative, non-equivalent, linguistics structures to refer to visual information and insert additional pronominal references and deictic devices, which overtly connect linguistic items to pictorial elements. As a result, the ongoing spoken discourse is explicitly linked with the physical surroundings of the communicative encounter. In contrast, in the English language versions, the relationship between the verbal utterance and the accompanying visual information more often remains lexically implicit. The shifts in translation affect the ideational, interpersonal, and textual meanings expressed in the film texts which, in turn, may result in a variation in the films’ narrative construction and the realization of extralinguistic concepts, such as, for example, gender relations.

Queer Timing

2019 ◽  
Author(s):  
Susan Potter
Keyword(s):  
Queer Theory ◽  
Film Theory ◽  
Early Cinema ◽  
Same Sex ◽  
Institutional Processes ◽  
Feminist Film Theory ◽  
Lesbian Sexuality ◽  
History Of ◽  
Feminist Film ◽  
Film Texts

This book is a counter-history of the emergence of lesbian sexuality in early cinema. Drawing on the critical insights of queer theory and the history of sexuality, it challenges approaches to lesbian representation, initially by reframing the emergence of lesbian figures in cinema in the late 1920s and early 1930s as only the most visible and belated signs of an array of strategies of sexuality. The emergence of lesbian representation and spectatorship in early cinema is not a linear progression and consolidation but rather arises across multiple sites in dispersed forms that are modern and backward-looking, recursive and anachronistic. In this tumultuous period, new but not always coherent sexual knowledges and categories emerge, even as older modalities of homoeroticism persist. The book articulates some of the discursive and institutional processes by which women’s same-sex desires and identities have been reorganized as impossible, marginal or—perhaps not so surprisingly—central to new forms of cinematic representation and spectatorship. Complicating the critical consensus of feminist film theory and history, the book foregrounds the centrality of women’s same-sex desire to historically distinct cinematic discourses of both homo- and heterosexuality. It articulates across its chapters the emergence of lesbian sexuality—and that of its intimate “other,” heterosexuality—as the effect of diverse discursive operations of early cinema, considered as a complex assemblage of film texts, exhibition practices, modes of female spectatorship, and reception.

Feminist Film Aesthetics: A Contextual Approach

Hypatia ◽  
1990 ◽  
Vol 5 (2) ◽  
pp. 137-148 ◽  
Author(s):  
Laurie Shrage
Keyword(s):  
Film Criticism ◽  
Contextual Approach ◽  
Hollywood Films ◽  
Feminist Film ◽  
Film Texts ◽  
Classical Hollywood ◽  
Film Aesthetics

This paper considers some problems with text-centered psychoanalytic and semiotic approaches to film that have dominated feminist film criticism, and develops an alternative contextual approach. I claim that a contextual approach should explore the interaction of film texts with viewers' culturally formed sensibilities and should attempt to render visible the plurality of meaning in art. I argue that the latter approach will allow us to see the virtues of some classical Hollywood films that the former approach has overlooked, and I demonstrate this thesis with an analysis of the film Christopher Strong.,

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