Cultural Discourse of the Cinematic Language Evolution

Abstract. Since the birth of cinema, filmmakers have created personal, political, philosophical, realistic, poetic, emotional and diverse portraits of cities. In the history of art, we’ve seen traveling poets, storytellers, painters, now we can talk about traveling filmmakers and their heroes, who explore and capture their journeys with the film camera. Images from the screen create our perception of places, like modern cities, where we have never been, as their visual or acoustic version is constructed by cinema. From City Symphonies to Essay films and lonely journeys of characters lost in urban landscapes, filmmakers have dialogues, open conversations with cities. Those personal conversations involve - critical thinking, aesthetical study of the place, memories and film language. Kutaisi, Hong Kong, Tokyo, Beijing, Berlin, New York or Paterson, cities from different parts of the world, with different cultural codes and the author’s vision have their visual doubles on the screen and become characters on their own. The article explores different approaches and cinematic dialogues with the cities, their representation and poetry in cinema - visual and acoustic. The semiotic analysis is used in the article as the methodology to observe visual and acoustic possibilities of the film language. The article also focuses on connection of literately forms with film language, how – poetry, essays, letters and diaries are connected with the cinema. In Manhatta (1921) by Charles Sheeler and Paul Strand, Walt Whitman’s poem of the same name is “written” in the film and helps to explore the city. Modern example in cinema of writing poetry on the screen and also embodying it in all forms, visual or audio is - Paterson (2016) by Jim Jarmusch. Comparative study of the films from different parts of the world helps to describe a modern city in a film, as a modern audiovisual text, on the edge of reality and imagination, with new possibilities, experiments of form, and carrying the problems of wandering and lost characters in it. On the example of the chosen films, the article reflects on different images of cities, how they are becoming main characters and cinematic texts - from Kutaisi to Hong Kong.

This study aims to analyze the hidden meanings conveyed through nonverbal communication in the short film Irony Mother Earth Calling directed by Daffa Izzudin, using Roland Barthes’ semiotic approach. The research focuses on identifying and interpreting Barthes’ five semiotic codes—hermeneutic, semic, symbolic, proairetic, and gnomic (cultural)—as representations of plastic waste issues and the environmental crisis in Indonesia. A qualitative research design with a content analysis approach was employed. Data were collected through in-depth observation of ten selected scenes, which were subsequently analyzed based on the five semiotic codes. The findings indicate that the symbolic code is the most dominant in conveying hidden meanings, particularly through visual elements such as plastic packaging, drinking bottles, landfill settings, and changes in the main character’s facial expressions. These symbolic elements construct both denotative and connotative meanings related to the harmful impacts of plastic waste on the environment and human life. In contrast, the gnomic code appears least frequently, primarily through the use of the text “Mother Earth” and the character’s vocal intonation, reflecting cultural values and collective environmental awareness. The proairetic code plays a significant role in presenting sequences of concrete actions addressing plastic waste management, while the hermeneutic code creates elements of enigma that encourage audiences to actively interpret the film’s environmental messages. This study concludes that nonverbal communication in Irony Mother Earth Calling effectively conveys hidden meanings through the application of Roland Barthes’ semiotic codes, positioning the film not only as a medium of visual expression but also as an educational tool for fostering environmental awareness and human responsibility toward ecological sustainability.

The way humans communicate can be done in the form of text, one of the communication forms via text was when someone expressed what they want to convey in written form, such as song lyrics. Song lyrics written by songwriters had a meaning that wanted to convey. This research aimed to disassemble the meaning in the song lyrics through Roland Barthes’ semiotic codes contained in each of the song lyrics. This research conducted qualitative research by using descriptive qualitative types of research. The data source in this research was song lyrics which collected from the album “Dua Warna Cinta” by Virgoun and Budi Doremi. The data analysis technique used heuristic and hermeneutic reading techniques. The result of this research showed that discovered five codes of Roland Barthes’ semiotic which contained heuristic, semic, symbolic, proaretic, and cultural codes.

This research is backed up by the desire to understand and interpret the semiotic meaning in Ny. Talis (Kisah Mengenai Madras) novel by Budi Darma. The purpose of this study is to describe: (1) hermeneutic code; (2) semantic/semes code; (3) symbolic codes; (4) proaretic code, and; (5) cultural codes in Ny. Talis (Kisah Mengenai Madras) by Budi Darma. The theory used to analyze the data is Roland Barthes' semiotics which focuses on semiotic codes. The approach used is poststructural semiotics by applying heuristic and hermeneutic semiotic reading methods. Research data in the form of dialog quotes, words, sentences, and paragraphs that are related to the focus of research on semiotic codes. research data sources come from Ny. Talis (Kisah Mengenai Madras) by Budi Darma (1996) published by Balai Pustaka.The results of the research and discussion show that the semiotic codes in Ny. Talis (Kisah Mengenai Madras) novel there is a lexias fragment that connects five semiotic codes. Liaison lexias is nothing but the meaning of signification about death and matters related to death. In addition, the reality of life refers to death.

Historical cinema in India frequently transcends mere amusement, serving as a conduit for the formation of cultural memory, political identity, and social values. Sanjay Leela Bhansali's Bajirao Mastani (2015) and Padmaavat (2018) are two great instances of films where visual grandeur is interwoven with ideological narratives. The significance of this study lies in its focus on color as a cinematic language that both preserves and reimagines history. This study examines the impact of chromatic choices on the portrayal of cultural dualities, thereby contributing to broader discussions regarding politics, religion, and identity in Indian cinema. The study is based on Postcolonial Theory, which looks at how the self and other are made in cultural texts, and Social Semiotics, which examines color as a way of communicating that has many meanings. The study aims to examine how Bhansali uses color to depict ideological conflicts, to analyze how visual palettes create cultural dualities, and to evaluate the influence of clothing and set design on the construction of historical narratives. The method uses both descriptive analysis and discourse analysis. The results show that color in Bhansali's films is more than just decoration; it is a political and cultural code that reinterprets history, shapes identities, and embeds ideological stances in spectacle.

The purpose of the research is to analyze the phenomenon of human perception of the combination of film images in varying space and time and with different actions. To determine the role of audio and video combination: soundtrack, counterpoint; to trace the parallels between the structure of musical works and music notation with composition, as well as the system of editing audiovisual works; to outline the main editing transitions and special effects, to note the feasibility of their use in modern audiovisual production. The research methodology is based on the following scientific methods: theoretical (analysis of physiological and psychological factors of the viewer's perception of an audiovisual work, analysis of outstanding examples of world cinema); comparative (drawing parallels between the language of cinema and music); practical (modelling specific examples of combining several frames). Scientific novelty. For the first time, the authors analyze the peculiarities of editing in contemporary audiovisual production, reveal the specifics of special effects and transitions, draw parallels between the levels of editing and the language of musical works; establish some details of the phenomenon of perception of editing at the level of psychology and everyday life and define the main criteria for the quality of editing transitions and effects. Conclusions. The peculiarities of montage have been identified, and the fact of perception of different moving images collision at the subconscious level in an audiovisual work has been analyzed. It is proved that pictures that are not united by space, time and action can create a coherent associative story. The role of audio and video combination has been defined – from synthesis with an amplifying effect to collision and creation of counterpoint. Parallels between musical works and the composition of an audiovisual work have been drawn. The main transitions and effects, as well as the conditions for their creation in modern audiovisual production, have been identified.

Alan Bilton's Silent Film Comedy and American Culture brings to mind Robert Allen and Douglas Gomery's observation that film history is not a simple empiricist history. They quote the American historian Charles Beard to remind us that, at best, film history must always remain a subjective ideological history: “Whatever acts of purification the historian may perform he yet remains human, a creature of time, place, circumstance, interests, predilections, culture.”1 Allen and Gomery divide the field of film history into four major areas, representing the major avenues of film historical investigation: Aesthetic film history deals with the history of the cinema as an art form; Technological film history involves the study of the origins and development of the technology that makes possible the creation and presentation of movies; Economic film history concerns who pays for movies and how and why they are made; Social film history is concerned principally with three questions: (1) Who made films and why? (2) Who saw films, how, and why? (3) What was seen, how and, why?2 The title of Bilton's first chapter is “Introducing America's Silent Film Comedy: Clowns, Conformity, Consumerism” and confirms what the title of his book already suggested, namely that Bilton adheres mostly to the social approach to film history with some minor attention to the economic approach. This selective approach is perhaps the book's strongest aspect and its greatest weakness in that it avoids a whole set of questions concerning the aesthetic and technological categories of film history.In his analysis of the relationship between silent comedies and the development of practical capitalism and consumerism in the U.S. during the turn of the twentieth century, Bilton relies heavily on the work of Sigmund Freud's nephew, Edward Bernays, who was one of Hoover's key speechwriters, as well as one of the most important architects of Western consumer culture. Bilton proposes that slapstick movies, with their use of destruction, comically uninhibited lust, illogical gags, and absurdist anarchy, provide a test case for Bernays's theories, which for the first time applied psychoanalysis to explain economic and cultural phenomena. Bilton aims to explore whether such manic energies can be absorbed and tamed by the system, or whether instead they illuminate the essential irrationality of consumer culture and the transformation of civic duty into boundless desire. Bilton quotes Rob King's study of the Keystone Film Company, which states that the “timeless” age of silent comedy can only be understood in terms of “a shift from a producer to a consumer economy” (29). Thus, Bilton claims that one should read all slapstick comedy as a form of collective anxiety dream.Bilton raises the important paradox of slapstick: on the one hand, it serves as a subversive tool that attacks social norms, while on the other hand, as comedy, it serves an essentially conservative purpose, restraining excessive activity by redirecting its energy to humor and laughter. This issue is very crucial to all humor study and is probably one of the preeminent unsolved questions regarding humor and its effects on society and politics. Analyzing Keaton and Chaplin's films, which are rich in satirical and subversive gags, could suggest a broader approach to this issue and might expose the dichotomy, which leads to the above-mentioned paradox as an oversimplified attitude. The context of the gag may be the key to understanding whether it is subversive or submissive.Bilton's narrow focus on the social perspective enables him to encapsulate the entire oeuvre of the seven most iconic and popular silent comedians: Mack Sennett, Charlie Chaplin, Rosco “Fatty” Arbuckle, Mabel Normand, Harold Lloyd, Buster Keaton, and Harry Langdon. He observes that Sennett's movies should be read “not as absurd Dada provocation, but rather as a cock-eyed reflection of the immigrant experience, its kicks, knocks and scums” (48). Or as he sums it up: “If the key theme of a Demille picture is the Cinderella theme, Sennett's films remain stubbornly ugly sisters: grimy, grotty, redolent of the dirt under the audience's fingernails that Demille was so committed to scrubbing out” (59).For Bilton, Chaplin is the ultimate seismograph of time (i.e., zeitgeist) of the mechanical era and is defined as “the exemplar of a nascent machine-body for a new machine-age” (99). Bilton supports his argument using Fernand Léger's iconic image of Chaplin in his short avant-garde film La Ballet Mechanique (1924) where the Tramp is transformed into jerky cubist animation, when the bodily and the mechanical become virtually inseparable. Along these lines, Roscoe “Fatty” Arbuckle is described as the “perfect representative of an age of gluttony and conspicuous consumption, the ravenous hunger of the market place” (114). Chaplin's most common props and sets are machines and their derivatives (statues, models, mannequins, toys, etc.), to the point that the border between people and objects is erased; meanwhile, Arbuckle's most reliable prop is food.One of the more interesting points of Bilton's analysis occurs when he applies his approach to Mabel Normand and the notion of the female clown. Through her films, Bilton explores the theoretical idea of the changing role of the New Woman in the early part of the twentieth century: “‘woman as sign’ and ‘woman as a token of exchange’”(139).Bilton tries to encapsulate Harold Lloyd's comedy as the ultimate expression of the anxieties of capitalism by focusing on one of his best achievements, Safety Last (1923). Bilton notes that the fact that Harold's character is a department store salesperson underscores the role of consumerism. Here he misses an opportunity to explore this theme and film against Chaplin's Modern Times (1936), and Keaton's Cops (1922) and One Week (1920). Such a comparative analysis could enhance his argument and show the uniqueness of each of these artists.Bilton writes that “it is Buster Keaton who most completely inhabits and exemplifies the machine age…. No other comedian of the period seems so aware of the essentially mechanical nature of the medium, its specifically machine-made possibilities and absurdities” (175). This observation is productive and accurate; however, failing to compare Keaton to Chaplin from this perspective in order to fully understand the meaning of this statement and the specialty of each of the two artists is another missed opportunity. Chaplin's work, especially the unique and sophisticated way he dealt with sound, was very much a result of his awareness of the mechanical nature of the medium.3Bilton quotes Gilbert Adair regarding the equivocal experience of watching a silent film today: “On the one hand the images feel incredibly young, with film-makers working out the possibilities of the medium for the very first time. On the other hand, however, the images appear incredibly, ineffably old” (192). Bilton suggests that of all of the great auteurs of the dead language of silent film, Keaton seems to have understood this duality most clearly. I believe that awareness of this tension between primitive, vital new medium and vanishing dying medium could provide important insight into many silent films toward the late 1920s, as the medium reached its climax.Bilton ends his survey by focusing on Harry Langdon and his “repetition-compulsion” about World War I. Using Jean Laplanche's concept of afterwardness, Bilton raises the apparent paradox of portraying World War I as comedy and describes how deferred meanings or effects can be understood to be activated only by a second occurrence of meaningful events. He argues that what in many ways distinguished Langdon's silent comedies was his ability to reveal the war's absurdity by revisiting the trenches and the expressions of the shell-shocked.In conclusion, Bilton's social approach highlights some aspects relevant for cultural studies and is particularly valuable for its contribution to humor studies. This approach allows Bilton to focus on a number of themes relevant to the social changes and developments of American society at the beginning of the twentieth century; what is more, it allows him to explore the reflection of these themes and their influence on the silent comedy and its major artists. I believe that incorporating other approaches, such as the aesthetic, technological, and economic, could enrich this analysis.Bilton's choice to focus on seven comedians and to structure the book around this idea implies a hidden assumption of what constitutes an auteur-oriented approach. There is no reference or treatment of the differences between these auteurs. Are these artists all equally auteurs? Are the differences between them only thematic or is there more that differentiates them than simply their gender and their external form/appearance? What does it mean for them to be comedians? Are we dealing with them just as clowns or actors? Or maybe one should also refer to the fact that some of them were only performers and others also writers, directors, and producers? Writing about cinema should relate to many aspects of the process of filmmaking. It is impossible to focus only on one of the categorizations that Allen and Gomery suggest. In spite of these flaws, the book gives an interesting overview and provides some insights into slapstick, one of silent cinema's greatest and most popular art forms; indeed, slapstick has proven to be an important contribution of American culture to the art of cinema, and remains as one of the greatest contributions of American cinema to today's culture.

This study aims to examine the form of language code, literary code, cultural code in the novel Puya Ke Puya by Faisal Oddang as teaching materials for prose fiction literature study programs in universities. The research method used is descriptive qualitative research. Data collection techniques are documentation with reading and listening techniques, and recording techniques. Data analysis was carried out through several stages, namely data identification, data classification, description, and drawing conclusions. The results showed that the language codes used in the Puya Ke Puya novel were the use of regional languages in the form of greetings, kinship elements, everyday vocabulary and the use of foreign languages, literary codes depicted in words with connotations and figurative meanings, cultural codes in the novels concerned the system. The culture that exists among the Toraja people such as social organization systems, living equipment systems and technology, and religious systems.

This research aims to analyze the semiotics of Roland Barthes' study in the Boeng Poetry Anthology by Participants of the 2020 Kudus Literature Camp. This type of research is descriptive qualitative. The method used in this research is a qualitative descriptive method. This research uses the poetry anthology book Boeng as an object by the participants of the Kudus Literature Camp published by PARIST (Paradigm Institute) Kudus 2020. The data analysis technique uses heuristic and hermeneutic reading methods. The data source for this research is the primary data source which comes from the poetry anthology book Boeng by the 2020 Literature Camp Participants and secondary data sources which come from several articles and books. The theory used in the research is Roland Barthes' theory. Roland Barthes' theory carries out analysis using five semiotic codes, namely hermeneutic code, semic or connotative code, symbolic code, proaeretic or action code, and gnomic or cultural code. From the research results, there are four semiotic codes that build in this poetry, including hermeneutic, semic, symbolic and proairetic codes.

This study aims to describe, analyze, interpret, and conclude taboo prohibitions and semiotic codes in the Community of Pekan Arba Sub-District of Tembilahan, Indragiri Hilir Regency. Through a descriptive method, data were collected through observation, interviews, and recordings, then analyzed in detail. The results of the analysis of hermeneutic and semiotic codes indicate that the use of these codes plays a crucial role in constructing puzzles, generating tension, and conveying deep and complex meanings. Codes such as suggestion, disruption, and partial answers effectively stimulate interpretation and reflection on the implicit messages in the taboos. Furthermore, symbolic, narrative action, and cultural codes also provide insights into the culture, beliefs, and norms of the community. Thus, taboos are not just rules but also a medium for conveying relevant social, educational, spiritual, and traditional values to society.

Inclusivity is key to creating a fair space for everyone in various fields, including deaf people, especially in the dynamic film industry. In line with this, this study aims to evaluate the level of inclusivity in Indonesian films through the representation of deaf people and the use of sign language as a means of communication. Using a quantitative-descriptive approach, data was collected through questionnaires distributed to two categories, namely the general public and the deaf community, and then analyzed descriptively. The results show that the majority of respondents consider the use of sign language in films to be an important step towards inclusive representation because the representation of deaf people and the use of sign language in Indonesian films is still far from adequate. Further assessment of the limitations of Indonesian films that raise this theme shows that there is a gap that must be addressed immediately. These findings emphasize the need for collaboration between filmmakers, the deaf community, and relevant institutions to create more equitable and accessible representation. By incorporating empathy through the use of sign language, the film industry holds the potential to reach a broader audience and actively contribute to the creation of artworks that can be enjoyed by all segments of society.

Introduction In this paper, I examine the practices of representing Deaf ‘voices’’ to hearing audiences in two recent US television crime dramas. More literally I look at how American Sign Language is framed and made visible on the screen through various production decisions. Drawing examples from an episode of CSI: New York that aired in December 2006 and an episode of Law and Order: Criminal Intent that aired in April 2007, I examine how the practices of filming Deaf people and the use of American Sign Language intersect with the production of a Deaf ‘voice’ on the screen. The problem of representing a Deaf ‘voice’ on the screen is akin to the problem of representing other minority languages. Film and television producers in the United States have to make choices about whether the majority audience of English speakers will have access to the minority language or not. In the face of this dilemma media producers have taken several approaches: subtitling foreign speech, translating foreign speech through other characters, or leaving the language inaccessible except to those who use it. The additional difficulty with representing national sign languages is that both the language and the recording medium are visual. Sometimes, filmmakers make the choice of leaving some portions of the signed dialogue inaccessible to a non-signing hearing audience. On the one hand this choice could indicate a devaluing of the signed communication, as its specific content is considered irrelevant to the plot. On the other hand it could indicate that Deaf people have a right to be visible on television using their own language without accommodating hearing people. A number of choices made in the filming and editing can subtly undermine positive representations of Deaf ‘voices’ particularly to a Deaf audience. These choices often construct an image of sign languages as objectified, exoticised, disjointed, incomplete, or a code for spoken language. Simple choices such as using simultaneous speaking and signing by Deaf characters, cropping the scene, translating or not translating the dialogue have powerful implications for the ways that Deaf ‘voices’ are becoming more visible in the 21st century. Typical filming and editing conventions effectively silence the Deaf ‘voice.’ Over 20 years ago, in the comprehensive book, Hollywood Speaks: Deafness and the Film Entertainment Industry (1988), Schuchman’s complaint that the filming and editing techniques of the day often did not attend to preserving the visibility and comprehensibility of sign language eon the screen, still applies today. As editing techniques have evolved over the years, fr om reliance on wide and medium shots to frequent intercutting of close-ups, the tendency to cut sign language off the screen, and out of the comprehensible view of the audience, may have even increased. Recent Portrayals of Deaf People on Television During one television season in the United States between August 2006 and April 2007, 30 episodes of six different serial television programs portrayed signing Deaf characters. Three of these programs had on-going Deaf characters that appeared in a number of episodes throughout the season, while three other programs portrayed Deaf people in a one-off episode with a Deaf theme. Initial air date for the season Program and Season # of Episodes 1 14 Aug. 2006 Weeds, Season 2 5 2 20 Sep. 2006 Jericho, Season 1 13 3 28 Jan. 2007 The L Word, Season 4 9 Table 1. Dramas with Ongoing Deaf Characters during the 2006-2007 USA Television Season Initial air date Program, Season, Episode Episode Title 1 13 Dec. 2006 CSI: New York, Season 3, Episode 12 “Silent Night” 2 3 Apr. 2007 Law and Order: Criminal Intent, Season 6, Episode 18 "Silencer" 3 12 Apr. 2007 Scrubs, Season 6, Episode 16 “My Words of Wisdom” Table 2. One-off Episodes with Signing Deaf Characters during the 2006-2007 USA Television Seasons Ironically, although the shows with ongoing characters sometimes allow the Deafness of the character to be incidental to the character, it is only the one-off crime dramas that show Deaf people relating with one another as members of a vibrant community and culture based in sign language. Often, in the ongoing series, the characters remain isolated from the Deaf community and their interactions with other Deaf people are sparse or non-existent. For example, out of the 27 episodes with an ongoing Deaf character only two episodes of The L-Word have more than one Deaf character portrayed. In both Weeds and The L-Word the Deaf character is the love interest of one of the hearing characters, while in Jericho, the Deaf character is the sister of one of the main hearing characters. In these episodes though some of realities about Deaf people’s lives are touched on as they relate to the hearing characters, the reality of signing Deaf people’s social lives in the Deaf community is left absent and they are depicted primarily interacting with hearing people. The two episodes, from CSI: New York, and Law and Order: Criminal Intent, focus on the controversial theme of cochlear implants in the Deaf community. Though it is true that generally the signing Deaf community in the U.S.A. sees cochlear implants as a threat to their community, there is no record of this controversy ever motivating violent criminal acts or murder as portrayed in these episodes. In the episode of CSI: New York entitled “Silent Night” a conflict between a young Deaf man and Deaf woman who were formerly romantically involved is portrayed. The murdered young woman who comes from a Deaf family does not want her Deaf baby to have a cochlear implant while the killer ex-boyfriend who has a cochlear implant believes that it is the best option for his child. The woman’s Deaf parents are involved in the investigation. The episode of Law and Order: Criminal Intent, entitled “Silencer,” is also ultimately about a conflict between a Deaf man and a Deaf woman over cochlear implants. In the end, it is revealed that the Deaf woman is exploring the possibility of a cochlear implant. Her boyfriend projecting the past hurt of his hearing sister leaving him behind to go off and live her own life, doesn’t want his girlfriend to leave him once she gains more hearing. So he shoots the cochlear implant surgeon in the hand to prevent him from being able to perform the surgery. Then he accidentally kills him by crushing his voice box to prevent him from screaming. Analyzing Two Crime Dramas In both television dramas, the filmmakers use both sound and video editing techniques to mark the experiential difference between hearing and Deaf characters. In comparing the two dramas two techniques are evident : muting/distorting sounds and extreme close-ups on lips talking or hands signing. Though these techniques may heighten awareness of deaf experience to a non-signing audience they also point to a disabling stereotyping of the experience of being Deaf as lacking — framing their experience as hearing loss rather than Deaf gain (Bauman & Murray; Shakespeare 199). By objectifying sign language through extreme close ups American Sign Language is portrayed as something strange and unusual that separates Deaf signers from hearing speakers. The auditory silences can either jolt the hearing non-signer into awareness of the sensory aspect of sound that is missing or it can jolt them into awareness of the visual world that they often don’t really see. In the opening few scenes of the episodes both CSI: New York and Law and Order: Criminal Intent use sound editing alternately muting or distorting sounds as they cut between a ‘deaf’ auditory perspective and a ‘hearing’ perspective on the action as it unfolds. Even though the sound editing does play a part in the portrayal of Deaf people’s experience as lacking sound, the more important aspects of film production to attend to are the visual aspects where Deaf people are seen authentically signing in their own language. Scene Analysis Methodology In taking a closer look at a scene from each episode we can see exactly how the filming and editing techniques work to create an image of sign language. I have chosen comparable scenes where a Deaf individual is interviewed or interrogated by the police using a sign language interpreter. In each scene it can be assumed that all the communication is happening in both English and ASL through an interpreter, so at all times some signing should be occurring. In transcribing the scenes, I noted each point when the editor spliced different camera shots adjacent to each other. Because of the different visual aesthetics in each program where one relied heavily on continuous panning shots, I also noted where the camera shifted focus from one character to another marking the duration of screen time for each character. This allowed for a better comparison between the two programs. In my transcripts, I included both glosses of the ASL signs visible on the screen as well as the flow of the spoken English on the audio track. This enabled me to count how many separate shifts in character screen time segments contained signing and how much of these contained completely visible signing in medium shots. CSI:NY Witness Interview Scene In the first signing scene, Gina (played by Marlee Matlin) is brought in for an interview with Detective Taylor and a uniformed officer interpreter. The scene opens with a medium shot on Detective Taylor as he asks her, “What do you think woke you up?” The shot cuts to an extreme close up of her face and hands and pans to only the hands

U prva dva desetljeća 21. stoljeća u međunarodnom i postjugoslavenskom prostoru pojavilo se nekoliko članaka, studija, monografija, izložbi i DVD-ova koji su u središtu imali jugoslavenski eksperimentalni film, razvojno usko vezan uz kinoklubove i organizirani filmski amaterizam. Ti su materijali otvorili niz pitanja i ukazali na brojne lakune ove paralelne kinematografije, što je posljedično postalo i tema ovog doktorata. Budući da eksperimentalni film u (post)jugoslavenskoj filmologiji, filmskoj kritici i teoriji nije zauzimao preveliku ulogu, nakon obaveznog uvoda koji nudi problemski pregled polja i postojeće literature, drugo je poglavlje posvećeno promišljanju temeljnih pojmova ovog filmskog roda s naglaskom na jugoslavenskom kontekstu. Razmatraju se ideja jugoslavenstva kao zajedničkog nazivnika ovog korpusa filmova, pitanje temeljne definicije eksperimentalnog filma, njegove (avangardne) pozicije između povijesti filma i vizualnih umjetnosti, položaj žena unutar ove umjetničke prakse te se nudi šest postojećih tipologija kojima je analitički i interpretativno moguće obuhvatiti eksperimentalni film. Prvi dio trećeg poglavlja bavi se idejnim i ideološkim koordinatama unutar kojih je eksperimentalni film u Jugoslaviji nastajao te se podrobnije razmatraju razni aspekti njegove usidrenosti u amaterski kontekst. Tu se ujedno donosi i pregled festivala amaterskog i eksperimentalnog filma, kao središnjih mjesta diseminacije znanja i teorije o ovoj filmskoj praksi, te pregled pojedinih (amaterskih, eksperimentalnih) filmskih škola i njima pripadajućih jugoslavenskih teorija eksperimentalnog filma. U četvrtom i petom poglavlju analiziraju se sami filmovi, koji su radi preglednosti podijeljeni u četiri velike cjeline, prepoznate kao četiri polja istraživanja, koja povratno odgovaraju tipološkim pregledima ponuđenima u drugom poglavlju – sadržaj/slika, filmski jezik, filmski dispozitiv, i film kao nadilaženje pokretne slike. Ta su polja istraživanja unutar sebe usitnjena u manje značenjske, sadržajne i interpretativne cjeline, koje odgovaraju raznim aspektima fenomena pokretne slike.

Once upon a time? Re-designing the traditional tale: exploring the boundaries and opportunities of contemporary folk tale adaptations in film and associated media

Poetry is a poet's interpretation of life, the use of diction rich in meaning in poetry is an important element that gives aesthetic value to literary works. One poem that describes a deep meaning and deserves to be explored in a complex way is "Volcano Guardian" by W.S. Rendra. W.S. Rendra's poem, "Volcano Guardian," offers an exploration of significant values, such as the relationship between humans and nature, power, and death. This study uses a qualitative approach using a descriptive approach. Roland Barthes' semiotic theory offers a very relevant analytical framework for studying the poem "Volcano Guardian" by W.S. Rendra. identification and recording of relevant data, especially elements of the text that can be interpreted based on Barthes' five codes (hermeneutic, semic, symbolic, proairetic, and gnomic). This study proves that Roland Barthes' semiotic approach is effective in revealing the depth of meaning and theme in the poem "Penunggu Gunung Berapi". The poem not only depicts the physical landscape, but also explores universal themes such as alienation, longing, the search for meaning, and the relationship between humans and nature. The use of the five semiotic codes provides a comprehensive and multi-dimensional interpretation of this literary work.