Drawing Nostalgia – Memory, Displacement and the Cinematic Language of Longing

This study analyzes the use of language in the Ngeri-Ngeri Sedap film with the aim of revealing the patterns of language use that occur in the film, especially in terms of language variation, code-switching, and code-mixing, and how social factors influence the use of language in communication between characters. The methods used in this study are the free listening technique and the note-taking technique. The free listening technique is used to observe the use of language in the film without direct interaction with the speaker, while the note-taking technique is used to document relevant findings in the dialogue and conversation between characters. The results of the study show that the Ngeri-Ngeri Sedap film uses a mixture of Indonesian, Batak, and a little Sundanese and Javanese. The use of this language functions as a communication strategy that reflects cultural identity and strengthens the emotional aspect in the interaction between characters. In addition, the code-switching and code-mixing that occur in the conversation between characters illustrate the social dynamics and the reality of communication in a multilingual society. Thus, the use of language in this film not only acts as a means of communication, but also as a medium to convey cultural messages and social values inherent in the lives of the Batak people..

INTERPRETATION, FILM LANGUAGE AND TOURIST DESTINATIONS: A CASE STUDY OF HIBISCUS TOWN, CHINA

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.

In the last decades, ethnolinguistic Otherness has assumed an increasingly prominent position in many audiovisual products focusing on non-mainstream cultures otherwise quite voiceless in audiovisual media and giving voice to multilingual discourse practices where code-switching stands out as a key conversational strategy in expressing linguacultural diverse identities. This ties issues of on-screen multilingualism to the field of audiovisual translation and raises new challenges as far as the screen representation/translation of linguacultural specificities is concerned. All this is interestingly to be observed in animated films; indeed, since the early 1990s, such important animation production companies as Walt Disney, Pixar, and Dreamworks began to produce ethnically diverse films offering deep sociolinguistic insights into non-dominant countries and populations whose richness is conveyed on the screen by dialogues interspersed with their native languages, acting as vital symbols of their ethnocultural identity. Starting from these observations, this paper aims at looking contrastively and diachronically at how L3s, i.e., languages different from both the language of the original film and the language of the film’s dubbed version, used in instances of turn-specific, intersentential and intra-sentential code-switching, have been dealt with in the original version and in the Italian dubbed version of thirty American multilingual animated films, released between 1991 and 2022. The main objectives of this study are: to verify to what extent the original ethnolinguistic Otherness is either retained for the Italian audience or manipulated in dubbing; to observe whether and how the screen translation studies’ approach in conveying linguistic diversity in animation has possibly changed over the last thirty years; and to point out what can be achieved by audiovisual translation in terms of intercultural/interlingual transmission when autochthonous linguacultures are represented in animated films.

The article lists the concept of cinematic language and its specific features. In order to translate scripts into the language of cinema - screen language, it is necessary to train a specialist called a film editor. A film editor should be aware of both the art of filmmaking and directing, as well as literature and language norms. Only then will the language of cinema be polished and achieve its purpose. Linguistics plays an important role in achieving this goal. Based on these features, it was also suggested that the language of cinema should be studied from a linguistic point of view

Book Review| January 01 2009 Fitzgerald and the Influence of Film: The Language of Cinema in the Novels Fitzgerald and the Influence of Film: The Language of Cinema in the NovelsKundu, Gautam SCOTT D. YARBROUGH SCOTT D. YARBROUGH Search for other works by this author on: This Site Google The F. Scott Fitzgerald Review (2009) 7 (1): 174–176. https://doi.org/10.2307/41583020 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation SCOTT D. YARBROUGH; Fitzgerald and the Influence of Film: The Language of Cinema in the Novels. The F. Scott Fitzgerald Review 1 January 2009; 7 (1): 174–176. doi: https://doi.org/10.2307/41583020 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectivePenn State University PressThe F. Scott Fitzgerald Review Search Advanced Search The text of this article is only available as a PDF. Copyright © 2009 The F. Scott Fitzgerald Society/Wiley Periodicals, Inc.2009The F. Scott Fitzgerald Society/Wiley Periodicals, Inc. Article PDF first page preview Close Modal You do not currently have access to this content.

Focusing, framing, scanning--the language of film--and Gombrich's studies in psychology of perception are used by John Bender to isolate pictorial effects and devices in literature. The theory that he proposes, grounded in his analysis of Spenser, the painter of poets, discriminates between descriptive and pictorial in poetry.Originally published in 1972.The Princeton Legacy Library uses latest print-on-demand technology to again make available previously out-of-print books from distinguished backlist of Princeton University Press. These paperback editions preserve original texts of these important books while presenting them in durable paperback editions. The goal of Princeton Legacy Library is to vastly increase access to rich scholarly heritage found in thousands of books published by Princeton University Press since its founding in 1905.

Introduction. The relevance of the study lies in conducting a descriptive analysis of war films (1941-1945), which act as a powerful ideological weapon in the processes of forming a special value system of the war period. The article specifies the relationship between the real image of the hero and his artistic depiction in the Soviet cinema, reveals patterns in the formation of images of the heroes of the Great Patriotic War, explores the possibilities of "film language" as an effective propaganda tool during the war. The formation of a common "film language", the recognition of the heroes of the film, the analysis of the dialogues of the main characters "for quotations" became a sign of the audience's success of the film, actualizing heroic models of social behavior. The creation of heroic images in films took place in the context of military action, which influenced both the plot line of war films and the symbolism and the specifics of the artistic "depiction" of heroism. Materials and methods. This research is interdisciplinary in nature. In the course of the work, methods of historical research were used (historical and comparative analysis, historical and genetic, historical and typological methods, and a cultural and historical approach). Methods of related humanities disciplines were also used in the work: film studies methods, methods of visual anthropology when working with film sources, iconographic, imagological methods of analyzing a visual work, the method of hermeneutical analysis of cultural context, as well as an integrated approach to analyzing visual sources. Analysis. The article analyzes the images of the heroes of the Great Patriotic War created in the Soviet cinema of 1941-1945. It is emphasized that these images were often based on real exploits known to Soviet society. The main directions of heroization in wartime cinema are highlighted: heroic images of soldiers and commanders, as well as peasants and workers and intellectuals. Commanders are models to follow, and ordinary soldiers and sailors are ordinary citizens who stand up for the defense of the country. Soviet films reflect the nationwide nature of the war, where civilians trapped in occupation or working in the rear also show mass heroism on a par with soldiers at the front. A specific historical context, whether it was the defense of Leningrad or the Battle of Stalingrad, enhanced the impact of heroic images on viewers, making them the visual embodiment of real heroes. The scientific novelty of the study can be considered the definition of key types of heroic images (soldiers and commanders, peasants and workers, intellectuals) and their qualitative characteristics. Results. The result of the study was the formulation of a general ideological characteristic of the hero of the Great Patriotic War, the heroic image of the entire Soviet people, the "collective hero" in the films of the Soviet era. The manifestation of Soviet patriotism during the Great Patriotic War, conditioned by the ideology of socialism and the "ideological" type of political man, had no historical analogues. The specificity of the manifestation of Soviet patriotism is directly related to the image of a Soviet man, courageously fighting for their Motherland, for public socialist ideals. The confrontation of ideologies in the Great Patriotic War ("fascism" - "communism") became a determining factor in the defeat of Nazi Germany, and the heroism of the Soviet people is forever inscribed in the history of the great victories of mankind.

The relevance. The problems of addressing the issue of crisis phenomena in the development of cinematic language is due to the need to identify and study the contradiction between the need to update the cinematic language and established audience stereotypes in the rigidly established semiotic code of cinema. The development of clip­thinking against the background of the transition from book culture to media culture facilitated the emergence of a new cinematic language, which gave impetus to shift the emphasis of semiotic code from frame­sign, frame­symbol to defragmentation of time pause between structural elements of multi­series audiovisual work: episodes and seasons. The purpose of the article is to describe the transition from “sign language” to “time language” as a logical revolutionary transformation of the classical language of cinema. The methodology is based on culturological, historical and semiotic approaches. The results. The development of modern technologies has led to a significant shift of emphasis from cinema towards the series. This was due to the possibility of expanding the story into projects, where the plot, characters and conflicts can be covered more deeply. A multi­series film can now better reveal the plot narrative, where there are more than twenty story lines and about two hundred important plot twists. Thus, the revolutionary changes in the semiotic code of the cinematic language have shifted towards serial creativity, which cannot be considered second­rate or low­quality — this is a fundamentally different set of logic. If you watch any good series according to the rules of watching a movie, where the frame is a hieroglyph, the result will be really bad. But if you apply clip­thinking­based principle of viewing, where the basic unit of information is time, the result will be completely different. A new cinematic language emerged due to the development of clip­thinking against the background of the transition from book culture to media culture, which gave impetus to shift the emphasis of semiotic code from frame­sign, frame­symbol to defragmentation of time pause between structural elements of multi­series audiovisual work: episodes and seasons. The topicality. Different approaches to the problem of understanding cinematic text as a complex semiotic device are determined by cultural codes. The article develops a conceptual approach which is based on the fact that the transition from the memory culture and text culture to media culture is accompanied by a rethinking of the semiotic code syntax of the audiovisual work, that is its language that changes rethinking traditional discourse of the semiotics of audiovisual work. The practical value. In the perspective of art history, the primary basis of cinema is a specific language developed throughout the history of cinema, which must develop, because the language that does not develop becomes a dead language. It is the understanding of cinematic language, the ability to freely express one’s ideas and be understandable to the viewer, allows the author to express his/her idea in cinema. Conclusions. The formation of clip­thinking in the era of media culture significantly encourages the search for new ways to develop the semiotic code of cinematic language. These processes should be in the field of close attention not only of art critics, but also of culturologists, sociologists, philologists and philosophers. Today, the emphasis of traditional cinema is gradually shifting from local history to expanding of its boundaries to infinity, that is the lack of a rigid structured entry point — transmedia storytelling. Time is a new constant of media text as opposed to cinematic text. The evolutionary development path of the language of traditional cinema did not stop, and the revolution did take place in the serial space, which led to the emergence of a new media syntax.

L’Avenir de Camille Laurens (1998) et Vaste est la prison d’Assia Djebar (1995) sont deux romans caractérisés par leur absence de linéarité, tant sur le plan narratif que sur le plan chronologique. Cet article s'intéresse à l'articulation entre je et elle, auto et fiction, présent et passé, langage littéraire et langage cinématographique, cette structure duale donnant à l’oeuvre un aspect protéiforme, transmédial, duquel émerge un roman oxymorique, hybride, mieux à même de refléter la complexité de l’identité narrative féminine. Le langage cinématographique n'est pas pensé ici comme simple faire-valoir du langage littéraire. Au contraire, il participe activement à la complexification de la narration, prolongeant au niveau micro (fond) la dialectique observable au niveau macro (forme ou structure narrative), mais aussi au (re)cadrage des identités narratives. Le langage cinématographique délimite ainsi le champ du présent dans lequel évolue le sujet féminin, le contre-champ/chant du passé permettant un retour du sujet sur lui-même, tout en préfigurant le hors champ des possibles à venir.

Acclaimed director Quentin Tarantino is renowned for his masterful depictions of violence. Through his influential filmography, he has meticulously crafted a unique, stylized aesthetic for on-screen brutality, transforming bloodshed into a distinctive and highly recognizable cinematic signature. "Violent aesthetics" in movies often emphasize how to present violent scenes in a suitable and non-repulsive way. Tarantino makes use of this principle and moreover, gives violence a new perspective and presentation through his distinctive cinematic language. This research aims to demonstrate and analyze how Tarantino conducts violence via the usage of diverse cinematic language. More precisely, this essay will employ Kill Bill: Volume 1 (2003), Inglourious Basterds (2009), Django Unchained (2012) as case studies for an in-depth analysis of the connection between cinematic language and violent aesthetics. Furthermore, the paper is built upon a concept of three-stages, referring to the pre-violence, violence scene, and post-violence within a single scene. Besides, these three films shares the plot of revenge, accompanied a similar three-stages rhythm when violence is going to occur, which is comparable to digging into cinematic language. Therefore, it will be concrete and legible for us to understand reconstruction and beautification of violence.

In this chapter, Nesselhauf analyses how films not only adopt a theory with regard to content but also, on a second level, how aesthetics and the narration of a film are (loosely or explicitly) based on a theory, or rather, how the ‘cinematic language’ correlates with the theoretical basis. After a general introduction to film narration, this interplay is outlined using the example of politico-economic theories in Adam McKay’s The Big Short (2015), a movie about the key events and figures of the US housing bubble of the early 2000s, resulting in the recent worldwide financial crisis.

The subject of the research is one of the most advanced products of the modern film industry – VR cinema, created using virtual reality technologies. The article analyzes a new, special cinema language Virtual Reality Films, which has its own unique features. The relevance of the topic is due to the fact that VR cinema is an ultramodern phenomenon that has been developing rapidly in recent years and is arousing increasing interest among a wide audience of users. Films containing virtual reality are a related art form to classical cinema and animation. However, VR cinema and animation have a number of differences that manifest themselves at different levels. This article provides a structural analysis of VR cinema (both as a phenomenon in general and specific examples from the industry) in order to understand the specifics of creating a new cinema language of films with the inclusion of virtual reality. The paper examines the specific features of the new VR cinema language, analyzes cinema for virtual reality at several levels that are in close interaction with each other: technological, artistic, and user perception. Several films from the 2010s and 2020s are considered as examples of illustrating the principles of virtual cinema, and the evolution of their artistic language is analyzed. In the process of preparing this article, two key research methods were used. A theoretical method that includes conducting a structural analysis of the VR cinema genre, as well as key concepts, principles, technological and artistic techniques and effects related to this genre. The purpose of this analysis is to identify the unique specifics and characteristic features of the new cinema language inherent in VR films. A practical method that involves analyzing specific examples of films created in the Virtual Reality Films genre. The scientific novelty of the research consists in the generalization and systematization of fragmentary existing concepts about VR films, demonstrated in the considered works, and in the analysis of the evolution of the artistic language of virtual cinema, which it went through from 2010 to the 2020s. In the course of the research, the author became convinced that VR cinema has reached great heights in technical and technological aspects, in the field of maximum immersion of the viewer in virtual reality, in the field of managing the viewer's attention and perception. At the same time, in the age of accelerated scientific and technological progress, VR cinema is waiting for new discoveries in the field of technology. Thus, the article outlines the prospects for the further development of the VR cinema genre.

Within the history of modernity, the tragic shape and ethical concerns of the Antigone myth have made it a touchstone for understanding contemporary cultural and political realities. This essay traces the modernist processes of adaptation, citation, displacement, and revision that have often characterised the relations between filmmakers and this phenomenon. Focussing in particular on those films that subvert the authority of narrative realism and the laws of conventional – ‘classical’ – film language, it traces how particular social contexts and commitments have inevitably constructed different images of Antigone – how the Antigones that emerge in early or ‘silent’ cinema, for example, compare with those from other film and media forms, including television, video and installation art works.

The article considers some aspects of cinema art that differ from other forms of art, the concept of "language of cinema" and its features, literary norms, and the names of films. It is argued that the creation of a film corresponding to our time is directly related to the analysis of the language of cinema in a linguistic aspect. And also, some deviations from literary norms in the names of Uzbek films in the period of independence have been clarified. The spelling, punctuation, morphological, and stylistic deviations in the names of films are analyzed.