International Journal of Film and Media Arts, Vol. 3, Nº. 2 (2018)
URI permanente para esta coleção:
Navegar
Percorrer International Journal of Film and Media Arts, Vol. 3, Nº. 2 (2018) por assunto "FILM TECHNIQUES"
A mostrar 1 - 2 de 2
Resultados por página
Opções de ordenação
Item Albert Serra’s the death of Louis XIV (2016) according to Deleuze’s concept of affection-image(Edições Universitárias Lusófonas, 2018) Purev-Ochir, LkhagvadulamThis paper will conceptually apply and analyze Gilles Deleuze’s concept of affection-image, using The Death of Louis XIV (2016), to determine what the affection-image depicts and how it depicts it. Deleuze’s concept is singular in its reconceptualization of the close-up shot where he removes the dimensions, i.e. size and scale, of the shot from its definition and instead argues that the meaning of the shot depends upon the value (quality and power) it manifests. Deleuze calls this value ‘the affect’, and ‘the affect’ is the singular requirement for an image to be categorized as affection-image. I chose Albert Serra’s The Death of Louis XIV to apply and analyze the affection-image because it is a film largely reliant on close-up shots and is a great example of a modern day ‘affective film’. Specifically, I shall study the moments and instances where affection-image materializes in The Death of Louis XIV. I determined that there are three notable instances where Deleuze’s concept plays out: firstly, affection-image as failed action-image; secondly, affection-image as any-space-whatever; and thirdly, affection-image as degradation to impulse-image. Deleuze’s concept of the affection-image may encompass shots that are commonly known as medium and wide shots. The affection-images in The Death of Louis XIV create, in aesthetic arrangement with other images, a poignant and wry memento mori about the futility of power in the face of death, and about the banality of death and its ceremonies.Item Aspects of elliptical editing(Edições Universitárias Lusófonas, 2018) Sieghartsleitner, MadlenTemporal omissions can be found in the most diverse manifestations of various genres and film cultures. However, the ellipsis as a narrative tool has seldom been addressed in film theory, and when it has, it has tended to be treated in a manner of purely instrumental qualities of skipping the unimportant parts of a plot, to cover vast stretches of story time or as a pure mean of scene transitions. By contrast, I argue that temporal omissions have the potential to be a key creative tool in a filmmaker’s arsenal. I will investigate on how temporal ellipses are used in films and through this analysis I will discuss about how it can serve as a dramaturgical feature in narrative film. Questions I want to occupy myself within this dissertations are: What characterizes temporal omission in film? Is there different types identified and how can they be distinguished? Is there a phrase catalog, a standardized vocabulary? How is elliptical editing influential in a story’s structure and hence can it contribute to a high dramaturgical quality of a narrative? This paper is an attempt to depict the terminology, identify and differentiate scopes of elliptical editing but moreover it is an investigation on the temporal ellipsis and it’s means of aesthetic construction to create a receptive stimulus for the narration in fiction film.