(Dé)montrer en (dé)montant : recadrage des identités narratives dans L'Avenir de Camille Laurens et Vaste est la prison d'Assia Djebar

An effective filmmaker needs to have a good understanding of how film language works, and more importantly, how to actively influence an audience's thoughts and feelings and guide their gaze around the screen. Packed with examples from classic and contemporary cinema, The Language of Film reveals the essential building blocks of film and explains how the screen communicates meaning to its audience. You will learn about fundamental theories and concepts, including film semiotics, narrative structures, ideology, and genre, as well as how elements such as shot size, camera movement, editing technique, and color come together to create the cinematic image. With insightful case studies and discussion questions, dozens of practical tips and exercises, and a new chapter on film sound, this new edition of The Language of Film is a must-have guide for aspiring filmmakers.

The aim of this study is to reveal how the art of cinema narrates stories through visual and auditory elements and the role of signs in the process of meaning production. Cinema communicates various messages to the audience through its unique language and encodes these messages using signs. In this context, film language is evaluated as a communication system that plays a central role in the production of meaning. The study adopts a semiotic film analysis method based on the production and transmission of meaning and applies this method to examine the 2020 dystopian film In the Shadows. Signs within the film, including characters, settings, color usage, and narrative structure are analyzed to elaborate on the multilayered nature of cinematic language in meaning-making. The findings demonstrate that film language is not merely composed of visual and auditory elements but also conveys deep meanings to the audience through cultural codes and symbols. Thus, this study clarifies the semiotic function of cinema in meaning production and how this function is encoded.

본 연구에서는 소설이 성공적으로 영화화하기 위해 필요한 과정에 대해 살펴보고자 한다. 기존의 연구를 통해 소설의 서사구조가 영화라는 매체에 적합한 서사구조로 바뀌어야만 좋은 결과를 만들어낼 수 있음은 익히 알려져있다. 그러나 서사구조의 변경은 성공적인 영화화의 필요조건이기는 하지만 충분조건이 되지는 않는다. 제시된 서사구조에 영화다운 표현을 붙여야 비로소 좋은 결과물이 될 수 있을 것이다. 이미지와 사운드의 구성과 배치를 말하는 영상 언어는 영화적인 표현의 핵심이다. 소설 "내 친구 기리시마 동아리 그만둔대"는 한 챕터 당 한 명의 일인칭 시점으로 고등학교 학생들의 일상을 그려낸 작품이다. 영화 <키리시마가 동아리활동 그만둔대>는 소설의 서사구조를 바꾸어, 전반부는 다양한 인물이 겹쳐보이도록 같은 시간대를 여러 번 반복하여 보여주고, 후반부는 인물들을 학교 옥상으로 모아 하나의 사건을 진행하는 단선적인 구도를 선택하였다. 그리고 이 구조를 표현하기 위해 여러 명을 동시에 표현할 수 있는 가로로 넓은 화면비, 반복되는 사건을 다르게 보여줄 수 있는 구도, 마지막 시퀀스에 힘을 주기 위한 조명과 음악의 대비 등 다양한 영상 언어를 사용하고 있다. This study examines the procedure of successful novel adaptation. It is well known from precedent studies that narrative structure of novels should change forms to suit the media characteristics of films. But, the changing forms of narrative structure is not a sufficient condition of successful novel adaptation, but a necessary condition. A successful adaptation could be completed with filmic expressions on the presented narrative structure. The core of filmic expression is cinematic language which means the composition and array of image and sound. The novel, Kirishma Thing deals with everyday life of high school students and it consists of six stories which are narrated by one student each in first person point of view. The film, Kirishma Thing implemented a different strategy. It reveals the same events several times to show many characters over in each person's point of view in the first half. In the second half, all the characters gathers at the rooftop of the school to have an unilinear narrative structure over one event. This film utilize all kinds of cinematic language to achieve these structures including the widescreen aspect ratio which exposes as many characters as possible in one shot, picture composition which shows the same event in a different point of view, contrast in lighting and music which differentiates and empowers the last sequence of the film.

This article explores the correlation between two of Bahram Beyzaie's films and Laura Mulvey's theories on the male gaze. The films in question are The Crow (Kalāgh, 1977) and Maybe Some Other Time (Shāyad Vaqti Digar, 1987). This article delves into the films’ narrative structures, revealing a subtle yet significant shift in the dynamics of power and gaze. Initially, both films appear to conform to conventional representations of male dominance, establishing a seemingly patriarchal landscape. However, as the narratives unfold, a gradual transformation occurs, subverting conventions of the male gaze. By employing Mulvey's framework, this article deciphers the interplay between Beyzaie's cinematic language and Mulvey's theoretical underpinnings, highlighting Beyzaie's role in deconstructing patriarchal structures and crafting a more nuanced portrayal of gender relations.

L'Esprit Créateur êtres et les faits au sein de l'histoire. L'ouvrage de Ringer s'inscrit dans ce genre de travaux vaguement et librement inspirés de ceux de Derrida plutôt que de ceux de Sartre: «.In many ways, Derrida 's open-ended study of Genet defies any type of summary or conclusion» écrit-il. Le probl ème, c'est qu'il est bien difficile pour nous lecteurs de résumer ou d'apprécier les propres travaux de Ringer sur Genet. Frédéric Canovas Arizona State University Kamal Sahli, éd. Francophone Post-Colonial Cultures. Lanham, MD: Lexington Books, 2003. Pp. ix+ 471. Francophone Post-Colonial Cultures is a collection of theoretically-informed essays dedicated to giving prominence to French-speaking cultures and their importance for understanding modern France and its history of de/colonization. A corollary objective is to bridge the geographical and disciplinary divides between francophone spaces commonly referred to as "postcolonial " (Africa and the Caribbean) and European and Canadian francophonie. This is a laudable , if ambitious, task undertaken by Kamal Salhi, founding editor of the International Journal of Francophone Studies and author of four books on francophone literature, culture and language, and his 29 collaborators-scholars from the U.S., Great Britain, Canada, and Australia. Margaret Majumdar's introductory essay ("The Francophone World Moves into the TwentyFirst Century") sets the tone by examining the progressive institutionalization of francophonia, which began in the 1960s as a loosely organized international movement based on shared (hegemonic ) language and culture and evolved into a complex and multi-faceted organization with political and economic agendas in the late 20th century. Majumdar points out the tensions inherent in the shift from a model of universal language and culture to one that privileges diversity and multiculturalism, underscoring one of the guiding principles of this volume: the periphery now takes center stage in the francophone geopolitical sphere. The remaining 28 essays are divided according to geographic region (North Africa and the Middle East, Sub-Saharan Africa, the Caribbean, North America, Europe, the Indian Ocean and Southeast Asia, and the Pacific Ocean) and address issues of language, cultural identity, and ideology in francophone literature and film. With on average 4-6 essays per region, coverage is an inevitable problem. The literatures of most regions are well represented, with essays on canonical authors such as Assia Djebar, Sembene Ousmane, and Maryse Condé balanced by the less well-known voices of Tunisian Fawzi Mellah, réunionnais Daniel Vaxelaire or writers from New Caledonia. The North American section, however , is somewhat lop-sided, with two essays on Acadian writers, one the 19th-century novel. Les Anciens Canadiens, another on recent theater, and an encyclopedic revue of the Québécois novel since 1534, one page of which covers the very rich period 1965-2000 and gives only passing mention to such luminaries as Anne Hébert, Hubert Aquin or Gérard Bessette. The absence, in particular , of immigrant writers-Chinese-born Ying Chen and Haitian Emile Ollivier come to mind-makes the reader question how the intersection between francophone and post-colonial is defined. European selections, in contrast, foreground Swiss and Belgian regional literatures and, in France, the novels of "migrant intellectual" Vassilis Alexakis, and beur writer Azouz Begag. That reservation aside, Francophone Post-Colonial Cultures is an excellent resource for faculty or graduate students new to the discipline as well as for specialists. Instructors preparing a course on francophone literatures and cultures will find a wealth of material in its panoramic view. Further valuable research tools are to be found in the 37-page appendix with summaries of works discussed , the 26-page glossary of useful terms, author's biographies or historical events, etc., and the 29-page bibliography. Judith E. Precksiiot University of Minnesota-Twin Cities 96 Summer 2004 ...

Reviewed by: Leur pesant de poudre: Romancières francophones du Maghreb Patricia Geesey (bio) Leur pesant de poudre: Romancières francophones du Maghreb, by Marta Segarra. Paris: L’Harmattan, 1997. 237 pp. ISBN 2-7384-5095-4. The title of Marta Segarra’s study of French-language women’s writing from the Maghreb comes from a remark made by the Algerian novelist and [End Page 216] playwright Kateb Yacine. In his preface to Yamina Mechakra’s La grotte éclatée ( 1979; Algiers: ENAL, 1986), Kateb observes that “à l’heure actuelle, dans notre pays, une femme qui écrit vaut son pesant de poudre” ‘at present, in our country a woman who writes is worth her weight in gold’ (8). Segarra’s wide-ranging analysis of contemporary French-language women’s writing from North Africa and the Maghrebian community in Europe demonstrates that while beginning with the 1980s, the number of publications by women has increased, their works are only recently receiving the critical attention they merit. The explicit goal of Segarra’s study is to analyze a series of structures and themes shared by the novels under consideration. This project will be of great value to students of French-language North African writing because not only are the most widely recognized women novelists studied (for example, Assia Djebar, Leïla Sebbar, and Malika Mokeddem), but Segarra also draws examples from novelists who might be unfamiliar to readers residing outside of Europe and North Africa (for example, Marlène Amar, Fatima Bakhaï, and Hafsa Zinaï-Koudil, to name just a few). In the first nine chapters, Segarra concentrates on eliciting the common themes that link many of the narratives produced by Maghrebian women novelists. In this section of her study, the author provides numerous examples from a range of works for each of the topics studied. In the second part of Leur pesant de poudre, Segarra examines three works in greater depth according to a dominant theme of that particular novel. The three authors and their works which are treated to an in-depth analysis are: Assia Djebar’s Loin de Médine, Leïla Houari’s Quand tu verras la mer, and Hélé Béji’s L’oeil du jour. Segarra’s project is especially useful as an introduction to the entire corpus of women’s writing from the Maghreb and the Maghrebian community of Europe for scholars and students alike. The breadth of her thematic analysis covers an extensive range of concerns, and introduces readers to many of the critical approaches commonly taken in regards to French-language women’s writing from North Africa. In the first nine chapters, readers will encounter the following thematic discussions of the corpus of Maghrebian women’s writing: the use of the French language and its problematics, the tension between writing and oral expression, memory and anamnesis, the oppression and/or liberation of the female body, the woman’s gaze—both active and passive, parental ties, privileged feminine space, identity and narrative structure, and the self in opposition to the Other. In this first section of Segarra’s study, readers will find the bibliographic references to important critical studies of Maghrebian writing and postcolonial fiction to be especially useful. Segarra’s analysis strikes a balance between close a textual reading of the novels at hand and an introduction to several trends in current postcolonial studies. As Segarra explains in her introduction, the corpus of works examined has been established according to one basic criteria: novels written in French by women from Algeria, Morocco, or Tunisia, mainly from Muslim backgrounds and belonging, therefore to “une aire culturelle bien déterminée” ‘a well-defined cultural area’ (7). Unfortunately, this approach is [End Page 217] somewhat dangerously “globalizing,” and is even at risk of being interpreted as “essentializing,” as the author herself admits (8). Segarra’s point of departure is simply to evaluate those thematic concerns shared by women writers from the region. Therefore, the reader of Leur pesant de poudre finds grouped together novels that are of unequal literary quality and aspirations (a case in point: Farida Belghoul’s outstanding novel Georgette! compared with Fatiha Boucetta’s self-indulgent Anissa Captive); works of fiction...

This study explores the evolution of narrative structure in movies. It analyzes two significant film examples within this evolution: D.W. Griffith's The Birth of a Nation and Adam McKay's Don't Look Up. The Birth of a Nation is considered a turning point where the foundations of classical narrative were laid, emphasizing parallel editing and emotional interactions; Don't Look Up is analyzed as a successful example of hybrid narrative structures that have developed with the rise of the digital age and platforms like Netflix. Film evaluations and conclusions were made through narrative assessment and the descriptive method. The study details the transformation in cinematic narrative strategies due to technological advancements and the diversification of the global audience, highlighting its profound effects on viewers. These changes have significantly altered the narrative forms and audience experience of movies. The thesis that the transition from classical narrative to hybrid narrative has led to these changes and that the concept of hybrid narrative should be used as an umbrella concept rather than being used in parallel with the postmodernist narrative concept has been explained through the example of the movie Don't Look Up.

This study conducts a psychoanalytic examination of Coralie Fargeat's "The Substance," analyzing its representation of existential anxiety within contemporary cinema. Framed by the theoretical lenses of Freud, Jung, and Lacan, the research investigates how the film translates its characters' unconscious dynamics, internal conflicts, and identity crises into a cinematic language. Employing semiotic analysis as a qualitative method, the study interprets selected scenes, visual motifs, and narrative structures. The findings reveal that the film powerfully reflects the existential dread individuals face in confronting mortality and meaninglessness, articulated through the tension between the body, societal norms, and the pursuit of an authentic self. The narrative forces its characters to confront the inner void of an existence reduced to mere physicality. This process signifies a transformative reckoning with the fragmentation and reconstruction of the ego. Ultimately, this analysis posits that cinema, as exemplified by "The Substance," can function as an effective psychoanalytic tool for concretizing and deciphering unconscious conflicts and existential anxieties, highlighting the productive dialogue between film and psychoanalysis in understanding body-centric existential dread.

This study examines postcolonial discourse in Egyptian cinema through a comparative analysis of Mismar Goha (1952) and Rod Qalbi (1957), two landmark films reflecting Egypt’s sociopolitical transformations and struggles for independence. Produced amid the mid-twentieth-century upheavals, both films articulate evolving notions of resistance, nationalism, and modern identity within a postcolonial framework. The research analyzes Mismar Goha, directed by Ibrahim Emarah, focusing on key scenes and symbols—the nail, the Imam’s cloak, imprisonment, and popular revolt—to uncover how colonial resistance and identity formation are expressed through allegory and folk tradition. A comparative reading of Ezz El-Ddin Zulfikkar’s Rod Qalbi reveals contrasting narrative techniques that capture Egypt’s transition from colonial subjugation to revolutionary nationalism. Grounded in postcolonial theory—drawing on Edward Said, Homi Bhabha, and Frantz Fanon—the study investigates how colonial legacies and the pursuit of national identity are encoded in cinematic language, narrative structure, and character portrayal. Mismar Goha, released during the year of the 1952 Free Officers’ Revolution, subtly critiques colonial authority through allegorical resistance, while Rod Qalbi explicitly embodies Nasserist ideals of social justice, anti-aristocracy, and national liberation. Through close analysis of mise-en-scène (staging), cinematography, and symbolic motifs, the research traces a cinematic evolution from indirect allegory and cultural memory in Mismar Goha to overt ideological expression in Rod Qalbi. This transformation reflects a broader shift in Egyptian cinema—from a vehicle of cultural resistance to an instrument of revolutionary propaganda. Ultimately, the study argues that 1950s Egyptian cinema not only mirrored postcolonial anxieties but also actively participated in shaping national consciousness, identity, and political discourse.

In the contemporary media landscape, children's video content is one of the leading tools for development, education, and entertainment, while the visual environment acquired the status of an independent language of communication. Despite the widespread presence of children's media products on digital platforms, directorial principles of location design for young audiences remained insufficiently explored in the Ukrainian cultural and artistic context. The study aimed to analyse the role of the visual environment as a directorial tool in the production of children’s video content for digital platforms, using the channels Smile Family and Smile Family Spanish as case studies. The research was based on a review and analysis аof theoretical sources in the fields of perception psychology, colour theory, film language, and semiotics. To examine practical material, methods of visual-structural frame analysis, spatial composition, symbolism, and the organisation of visual elements in locations were applied. The study systematised key directorial techniques for creating visually appealing, emotionally expressive, and narratively coherent environments for child audiences. The research identified typical models for using colour as an emotional and narrative device, principles of symmetrical and asymmetrical composition, techniques for filling space with symbolically charged objects, and the role of editing dynamics in shaping perception. Successful case studies illustrated how a thoughtfully designed location functioned not as a background but as an active participant in the interaction, influencing the rhythm, emotional tone, and narrative structure. The applied methods – analysis of sources in perception psychology, colour theory, and semiotics, along with visual-structural frame analysis – integrated both academic approaches and practical tools for directors and producers. The results contributed to the advancement of directing methods, artistic design, and visual planning in the creation of children’s media content for digital platforms.

� Since its birth, fi lm has always been closely related to the city.People naturally equate their understanding of a city with its interpretation, perception and cognition presented in the fi lm."A City Called Macau" is selected as the research subject, and the documentary method is used to analyze the shot of urban Macau sceneries, in order to examine and attest the representation of the city in film language: Firstly, narrative structure is applied to interpret the film; Secondly, the pictorial image of the city is interpreted; Thirdly, the texts and sounds of the shot are also interpreted.This research holds that Macau, as a city of casino, has a very clear image in a variety of fi lms.However, diverse images are shown in this fi lm: sometimes a gentle and peaceful town, sometimes a prosperous and crazy metropolis, and sometimes an extremely romantic utopia.Though its interpretation of Macau's characteristics from different aspects, "A City Called Macau" leaves deep an impression to the audience.

From its earliest days to the present, film language has evolved within various contexts, undergoing transformations and bringing forth diverse cinematic narrative possibilities in different forms and content. These narrative options predominantly exist within the classical Aristotelian structure, but with the adaptation of the Brechtian structure to cinema, they have also taken on different and alternative directions. This shift has resulted in various changes across screenplay, cinematography, acting, and other areas. The central issue of this study is built upon these differences, with a particular focus on the gaze in cinema. The primary aim is to analyze classical and contemporary narrative structures in the context of actors' direct gazes at the camera, interpreting the distinctions through Jaco Van Dormael's "The Brand New Testament" (2015) and Michael Haneke's "Funny Games" (1997). The study intends to address how actors' direct gazes in these two distinct films differ between classical and contemporary narrative structures, examining them under the lenses of identification and alienation respectively. In this context, the study concentrates on how these gazes differentiate within both narrative structures across the selected films.

Political Literacy: Gender, Nationalism, and Visibility in African Literary History

Objective: This study investigates the comparative analysis of literary and cinematic language in Lionel Shriver's novel We Need to Talk About Kevin (2002) and Lynne Ramsay's film adaptation (2011). The aim is to explore the continuities and ruptures between the two forms, focusing on how they shape perceptions of motherhood, guilt, and psychological development. Theoretical Framework: The research is grounded in literary criticism and psychoanalytic theory, emphasizing the representation of motherhood and guilt in both the novel and the film. These frameworks provide the foundation to analyze how text and visual mediums convey complex themes such as responsibility and the nature of evil within the mother-child relationship. Method: This study employs a comparative theoretical analysis of Shriver's novel and Ramsay's film. The methodology integrates textual analysis of key narrative elements in the book and visual analysis of cinematic techniques in the film. The focus is on thematic exploration and stylistic choices, highlighting the interplay between literary and visual storytelling. Results and Discussion: The findings reveal that the film adaptation does not overshadow the literary work; instead, it complements it. Both forms effectively engage the audience in reflecting on moral and psychological issues related to motherhood and responsibility. While the novel provides depth through internal monologues and detailed narrative, the film employs visual and auditory cues to evoke emotional and psychological responses. The discussion emphasizes how these mediums collaboratively enrich the themes. Research Implications: The study underscores the importance of analyzing literary and cinematic texts in tandem to understand their unique contributions to thematic representation. It highlights the potential for cross-medium studies to deepen insights into complex human experiences like motherhood and guilt. Originality/Value: This research contributes to the literature by demonstrating how film adaptations can serve as extensions rather than replacements of literary works. It offers a nuanced perspective on the interplay between text and image, challenging traditional hierarchies in adaptation studies.

Introduction: historical context problematizing the female subject history, identity and gender identification narrative technique. Figures of fantasy - Karin Reschke Verfolgtedes Glucks: the paradoxes gender illness, the body and homosexual desire Riandres Milena Antotwortet - en brief: ideological concerns liberating the historical Jesenska woman and language. Kein Ort Nirgends - a place for feminist deconstruction? authorial desires gender the body and the unconscious privileging the female deconstruction and the female subject Derschatten eines traumes: generalization the victim model identification. The political as personal Brigitte Struzyk's - Caroline Unterm Freiheitsbaum: ideological commitment democracy eros and action narrative method gender Caroline - marginality and paternal identification the rejection of Sororean idealism Theresa - marginality and maternal identification the de-mystification of history. Striving for the authentic Sigrid Damm Cornelia Goether: ideological motivation gender and the problem of historical specificity narratorial identification and idealization the role of Goethe Sybille Knauss Achelise: aims and methods gender history and invention. Biography as historical novel - Volker Ebersbach Caroline: the narrative approach gender - the narrator's fashionable concession the historical Schlegel-Schelling female rivalry - a vehicle for narrational misogyny Sybille Knauss, Charlotte Corday: essentialized subjectivities the eternal male - the eternal female pure interiority Marie's motivation and Marat/Sade the force of history conclusion - unexpected bedfellows. Conclusion: narrative technique gender defending the antagonistic figure defending utopia final words.