Convenções na direção de arte cinematográfica: um olhar sobre a ficção científica

The elements of cinematographic language can be used in many ways to portray a story. It appears that, over the years, many conventions have been established in different areas of cinematographic making. In this article, we aim to highlight the conventions of the science fiction genre, with a focus on the art direction of movies that portray the future. For this, films such as Ex_Machina (Alex Garland, 2014), Equals (Drake Doremus, 2015) and Blade Runner 2049 (Denis Villeneuve, 2017) are analyzed. Also noteworthy, is the feature film Her (Spike Jonze, 2013) as a work that goes against the others, which presents an approach to the future that stands out among so many other movies with scenarios and costumes similar to each other. As a basis for the research, the study of conventions by sociologist Howard Becker is used, in addition to the work by theorists David Bordwell, Rick Altman, Stephen Neale, Marcel Martin, Vincent Lobrutto, among others. Directors and their artistic departments use colors, shapes, materials, textures, and elements that have become conventions in science fiction films and few are those who dare to produce something aesthetically different.

Semantic Ambiguity Explained in the Framework of Cognitive Economy

In “Context and Communication” Stephen Neale argues that the referential use of descriptions differs from the attributive use only in the pragmatics, making referential descriptions applicable to Russellian analysis. Marga Reimer disagrees with Neale’s view and argues that the difference is in the semantics, making referential descriptions semantically ambiguous. In this paper, I argue that Neale’s Modified Occam’s Razor overlooks the behavioral data of how we actually use language. I attempt to accommodate the strength of both Neale’s and Reimer’s explanations, putting them in a framework governed by the principle of cognitive economy

Grammatical Number and Donkey Anaphora in English

ABSTRACTThe article extends the analysis of English donkey anaphora, developed by Gareth Evans and improved by Stephen Neale, beyond those cases where the antecedents are singular count noun phrases, to those where the antecedents are either plural count noun phrases or mass noun phrases. The extension is based on an analysis of English grammatical number developed elsewhere cf. Gillon (1992). Its application here requires that a suggestion adopted by Neale—namely, that the grammatical number of pronouns in these cases is semantically inert—be relinquished. It is shown on independent grounds that the suggestion is untenable.

Collapsing Arguments for Facts and Propositions

Kurt Gödel argues in “Russell’s Mathematical Logic” that on the assumption that, contrary to Russell, definite descriptions are terms, it follows given only several “apparently obvious axioms” that “all true sentences have the same signification (as well as all false ones).” Stephen Neale has written that this argument, and others by Church, Davidson, and Quine to similar conclusions, are of considerable philosophical interest. Graham Oppy, responding to this opinion, says they are of minimal interest. Falling between these is my opinion that implications of these arguments for propositions and facts are of moderate philosophical interest, and that these arguments provide occasions for reflection of possible interest on fine lines of several theories of definite descriptions and class–abstractions.