Mosaic narrative a poetics of cinematic new media narrative

This thesis proposes the Poetics of Mosaic Narrative as a tool for theorising the creation and telling of cinematic stories in a digital environment. As such the Poetics of Mosaic Narrative is designed to assist creators of new media narrative to design dramatically compelling screen based stories by drawing from established theories of cinema and emerging theories of new media. In doing so it validates the crucial element of cinematic storytelling in the digital medium, which due to its fragmentary, variable and re-combinatory nature, affords the opportunity for audience interaction. The Poetics of Mosaic Narrative re-asserts the dramatic and cinematic nature of narrative in new media by drawing upon the dramatic theory of Aristotle’s Poetics, the cinematic theories of the 1920s Russian Film Theorists and contemporary Neo-Formalists, the narrative theories of the 1960s French Structuralists, and the scriptwriting theories of contemporary cinema. In particular it focuses on the theory and practice of the prominent new media theorist, Lev Manovich, as a means of investigating and creating a practical poetics. The key element of the Poetics of Mosaic Narrative is the expansion of the previously forgotten and undeveloped Russian Formalist concept of cinematurgy which is vital to the successful development of new media storytelling theory and practice. This concept, as originally proposed but not elaborated by Kazansky, encompasses the notion of the creation of cinematic new media narrative as a mosaic – integrally driven by the narrative systems of plot, as well as the cinematic systems of visual style created by the techniques of cinema- montage, cinematography and mise-en-scene

Non-pareille? Issues in Modern French Photo-Essayism

[FIRST PARAGRAPH][L]’esthéthique sait depuis longtemps que l’image, contrairement à ce que croit et fait croire la machine d’information, montre toujours moins bien que les mots toute grandeur qui passe la mesure: horreur, gloire, sublimité, extase. (Comolli and Rancière 1997, 66) It may seem odd, in a general analysis of the modern French essay accompanying photography, that there is no reproduction of photographs. This is however a deliberate choice, and not one without precedent, as the collection of Michel Butor’s photo-essays into one photo-less volume shows. For it would seem in this age of the image – dubbed by essayists as diverse as Debray (1992), Flusser (2000 [1983]), Gervereau (2000), Glissant (1994) as the televisual era – the written word has tended to be downplayed. This is no more the case than in the photo-essay, a sub-genre largely overlooked and under-theorised, generally subsumed within photo-journalism, and in which photographic sequences are preferred to written text (see Mélon, in Baetens and Gonzalez 1996, 138–55)

Intonation of Russian Declarative Sentence: Methodology for Teaching Foreign Students

The article deals with teaching Russian intonation of declarative sentences to foreign students. The emphasis is placed on the way teaching materials are presented. In particular, the variable rows for intonation patterns in declarative sentences have been developed, as well as the teaching of syntagmatic segmentation and intonation patterns in complex utterances. This method of working with foreigners is efficient for teaching foreign students the Russian declarative intonation which manifests in verbal communication and reading

Non-pareille? Issues in Modern French Photo-Essayism

[FIRST PARAGRAPH][L]’esthéthique sait depuis longtemps que l’image, contrairement à ce que croit et fait croire la machine d’information, montre toujours moins bien que les mots toute grandeur qui passe la mesure: horreur, gloire, sublimité, extase. (Comolli and Rancière 1997, 66) It may seem odd, in a general analysis of the modern French essay accompanying photography, that there is no reproduction of photographs. This is however a deliberate choice, and not one without precedent, as the collection of Michel Butor’s photo-essays into one photo-less volume shows. For it would seem in this age of the image – dubbed by essayists as diverse as Debray (1992), Flusser (2000 [1983]), Gervereau (2000), Glissant (1994) as the televisual era – the written word has tended to be downplayed. This is no more the case than in the photo-essay, a sub-genre largely overlooked and under-theorised, generally subsumed within photo-journalism, and in which photographic sequences are preferred to written text (see Mélon, in Baetens and Gonzalez 1996, 138–55)

The essay film.

This thesis on the essay film is written from the film maker's point of view, following the production of the film The Man Who Couldn't Feel and Other Tales, (54 min, 16mm). The film and the thesis together form the PhD submission. Examination of the completed film led to the definition of the essay film as an avantgarde, non-fiction film genre. The thesis rejects the current positioning of the essay film as a part of the documentary genre. The essay film creates an aesthetic coherence through the use of image and sound fragments, narrative and nonnarrative structures, 'methodically unmethodically' edited together. The essay film follows Vertov's and Astruc's steps in 'writing' fragments as they occur to the film maker, which are in turn put together using the editing traditions of the film avantgarde and modernist poetry. The film maker's presence in the essay film results in the cinematic 'text' becoming the 'reflective text' - the mediating medium between the film maker and the spectator. Beside its avant-garde roots, the genre owes much to the literary essay tradition established since Michel de Montaigne. Many of the literary essay's aesthetic, thematic and structural elements are to be found in the essay film genre. Each and every essay film is unique in its structure, and the genre as a whole does not conform to a pre-determined cinematic construction. Nevertheless, the thesis charts some useful characteristics and definitions for the establishment of an independent essay film genre

Current issues of the Russian language teaching XIV

Collection of papers “Current issues of the Russian language teaching XIV” is devoted to issues of methodology of teaching Russian as a foreign language, to issues of linguistics and literary science and includes papers related to the use of online tools and resources in teaching Russian. This collection of papers is a result of the international scientific conference “Current issues of the Russian language teaching XIV”, which was scheduled for 8–10 May 2020, but due to the pandemic COVID-19 took place remotely

Translation and linguistic strategies of English oxymora into Japanese by Japanese language learners

An oxymoron is a complex term as it contains inherent contradictions. This often results in confusion and miscommunication. In translation studies, despite the existence of quite a rich body of research on figurative language, the dearth of research that focuses on oxymoron further compounds this complexity. The objectives of this research are two-fold. First, is identifying whether or not the Japanese language learners are aware of the existence of oxymoron, whereas the second objective is to determine strategies used in translating English oxymoron into Japanese. This study used written translation tasks and follow-up online interviews as the methods. The study utilises purposive sampling technique and the respondents are 12 undergraduate students from the Universiti Malaya majoring in Japanese Language and Linguistics. Six of the respondents are Malay and six are Chinese. The oxymora are taken from the corpus of English texts at english-corpora.org/iweb. Data were manually collected and analysed using Aixelá’s Culture-Specific Items classification as the framework for analysing translation strategies. The research found that the respondents have difficulties translating some English oxymora and the challenges lie in finding correct words to describe, if not similar oxymoron in the target language. Other than their existing knowledge, the respondents refer to online resources to help them with translation such as Google Translate and online dictionaries. However, with some unfamiliar oxymora, this strategy is insufficient as most online dictionaries directly translate figurative language. This study is intended to raise interest in the translation of oxymoron, because this topic is not often the subject of study and application in practice. This study will help language instructors in understanding the process of translation of oxymoron and in implementing this subject as a syllabus in the translation studies

Generative video art

Generative art is historically and widely used for the production of abstract images and animations, each frame corresponding to a generation or iteration of the generative system, which runs within the aesthetic boundaries defined by its author. But rather than being limited to image or sound synthesis, generative systems can also manipulate video samples and still images from external sources, and include vectors that can be mapped to the concepts of shot, sequence, rhythm and montage. Furthermore, generative systems need not be limited to the visual plane and can also render audio, either through sound synthesis or by manipulating sound samples. And in this case, since the output is a constant and uninterrupted audio-visual stream, is it not possible to speak of generative video art, as it becomes indistinguishable from its modern-day video art digital counterparts? Within this perspective, this article traces back the historical roots of generative video art, and proposes a theoretical model for generative video art systems, as a creative intersection of two artistic genres, often seen as disjoint.info:eu-repo/semantics/publishedVersio