What you see is what you hear: creativity and communication in audiovisual texts
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cham, Switzerland
Springer
[2020]
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | XVI, 282 Seiten Illustrationen |
| ISBN: | 9783030325961 |
Internformat
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Datensatz im Suchindex
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| adam_text | XIII Contents Defining and Classifying Audiovisual Texts................................................................................. 1 The Basic Dilemmas.................................................................................................................................. Realism Versus Fiction.............................................................................................................................. Description Versus Prescription.................................................................................................................. Case Study: Bambi Between Realism, Fiction, Description and Prescription............................................ Media, Formats and Genres....................................................................................................................... Media.......................................................................................................................................................... Formats...................................................................................................................................................... 2 2 5 8 11 14 15 1.2.3 Genres........................................................................................................................................................ 1.3 A (Not So) Short History of Audiovisual Creative Communication.........................................................
References............................................................................................................................................................... 18 24 75 1 1.1 1.1.1 1.1.2 1.1.3 1.2 1.2.1 1.2.2 2 Understanding Audiovisual Communication.............................................................................. 77 2.1 2.1.1 2.1.2 2.1.3 2.1.4 The Basics of Communication................................................................................................................. Two Golden Rules....................................................................................................................................... Conditions for Communication................................................................................................................. Codes, Channels and Modes...................................................................................................................... The Functions of Communication.............................................................................................................. 78 78 80 82 85 2.1.5 Case Study: Pitching Story and Characters in the First Episode of the Borgias......................................... 87 2.2 The M.A.P. Model......................................................................................................................................... 97 References................................................................................................................................................................ 100 3 Axes: Time and
Space.......................................................................................................................... 101 3.1 3.1.1 3.1.2 Diegesis Versus Non-diegesis................................................................................................................... 104 Typologies of Conceptual Space/Time..................................................................................................... 108 Case Study: Multiple Forms of Space/Time In the Truman Show............................................................. 111 3.2 3.2.1 3.2.2 3.2.3 3.3 Steadiness Versus Unsteadiness.............................................................................................................. Spectators as Collaborators...................................................................................................................... On the Process of Interpretation............................................................................................................... Case Study: Steadiness and Unsteadiness in the Birds.............................................................................. Foreshadowing Versus Sideshadowing.................................................................................................. 113 115 118 121 124 3.3.1 3.3.2 3.3.3 3.3.4 3.3.5 Symbolic Foreshadowing and Chekhov s Rifles........................................................................................ What Is Essential in a
Story?........................................................................................................................ From Preparation to Delivery.................................................................................................................... Red Herrings, MacGuffins and Shaggy Dogs............................................................................................. Case Study: Foreshadowing in Roberto Benlgni s Filmography............................................................... 125 126 128 130 132 3.4 3.4.1 3.4.2 Narration................................................................................................................................................... 136 Narration and Archetypes......................................................................................................................... 138 Case Study: Star Wars in 31 Narratemes.................................................................................................... 143 3.5 3.5.1 3.5.2 145 146 Montage..................................................................................................................................................... Types and Theories.................................................................................................................................... Case Study: Soft Power and National Branding Through Montage: The Commercial Dynamic Korea .........................................................................................................................................
References................................................................................................................................................................ 154 161 4 Means: Sound, Image and Language............................................................................................. 163 4.1 Sound........................................................................................................................................................ 164 4.1.1 Sound Design............................................................................................................................................ 164 4.1.2 Soundtrack................................................................................................................................................. 167 4.1.3 Case Study: The Functions of Music in Back to the Future......................................................................... 170 4.2 Image............................................................................................................................................................ 178 4.2.1 Colors.......................................................................................................................................................... 180 4.2.2 CameraWork.............................................................................................................................................. 182
XIV 4.2.3 Contents Case Study: King Kong and the Visual Human-Animal Hybrids................................................................. 197 4.3 Language...................................................................................................................................................... 208 4.3.1 4.3.2 4.3.3 Speech.......................................................................................................................................................... 209 Writing.......................................................................................................................................................... 212 Case Study: Figures of Speech in Dialogues.............................................................................................. 214 References................................................................................................................................................................ 220 5 Properties: Taxonomy, Culture, Thematicity, Performance, Technology............................. 221 5.1 5.1.1 Taxonomy.................................................................................................................................................... 225 Case Study: Western as Genre, Sub-Genres and Cross-Genres................................................................... 227 5.2 5.2.1 Culture.......................................................................................................................................................... 237 Case Study: Cultural Clichés in the
Audiovisual Representation of Vegetarians...................................... 238 5.3 Thematicity................................................................................................................................................. 245 5.3.1 5.4 Case Study: The City as a Theme and the Case of Marseille.................................................................... 247 Performance............................................................................................................................................... 255 5.4.1 5.5 Case Study: Performative Elements in the Beatles Promos...................................................................... 256 Technology................................................................................................................................................ 262 5.5.1 Case Study: The Notion of Screen in Audiovisuality.................................................................................. 264 References................................................................................................................................................................268 Supplementary Information Index of Audiovisual Fictional Characters................................................................................................... 273 Index of Films, Programs, Music Videos, Videogames and Other Audiovisual Texts................................ 275 Index of
Names........................................................................................................................................... 279
Dario Martinelli What You See Is What You Hear Creativity and Communication in Audiovisual Texts What You See Is What You Hear develops a unique model of analysis that helps students and advanced scholars alike to look at audiovisual texts from a fresh perspective. Adopting an engaging writing style, the author draws an accessible picture of the field, offering several analytical tools, historical background, and numerous case studies. Divided into five main sections, the monograph covers problems of definitions, history, and most of all analysis. The first part raises the main problems related to audiovisuality, including taxonomical and historical questions. The second part provides the bases for the understanding of audiovisual creative communication as a whole, introducing a novel theoretical model for its analysis. The next three part focus elaborate on the model in all its constituents and with plenty of case studies taken from the field of cinema, TV, music videos, advertising and other forms of audiovisuality. Methodologically, the book is informed by different paradigms of film and media studies, multimodality studies, structuralism, narratology, “auteur theory” in the broad sense, communication studies, semiotics, and the so-called “Numanities.” What You See Is What You Hear enables readers to better understand how to analyze the structure and content of diverse audiovisual texts, to discuss their different idioms, and to approach them with curiosity and critical spirit.
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| adam_txt |
XIII Contents Defining and Classifying Audiovisual Texts. 1 The Basic Dilemmas. Realism Versus Fiction. Description Versus Prescription. Case Study: Bambi Between Realism, Fiction, Description and Prescription. Media, Formats and Genres. Media. Formats. 2 2 5 8 11 14 15 1.2.3 Genres. 1.3 A (Not So) Short History of Audiovisual Creative Communication.
References. 18 24 75 1 1.1 1.1.1 1.1.2 1.1.3 1.2 1.2.1 1.2.2 2 Understanding Audiovisual Communication. 77 2.1 2.1.1 2.1.2 2.1.3 2.1.4 The Basics of Communication. Two Golden Rules. Conditions for Communication. Codes, Channels and Modes. The Functions of Communication. 78 78 80 82 85 2.1.5 Case Study: Pitching Story and Characters in the First Episode of the Borgias. 87 2.2 The M.A.P. Model. 97 References. 100 3 Axes: Time and
Space. 101 3.1 3.1.1 3.1.2 Diegesis Versus Non-diegesis. 104 Typologies of Conceptual Space/Time. 108 Case Study: Multiple Forms of Space/Time In the Truman Show. 111 3.2 3.2.1 3.2.2 3.2.3 3.3 Steadiness Versus Unsteadiness. Spectators as Collaborators. On the Process of Interpretation. Case Study: Steadiness and Unsteadiness in the Birds. Foreshadowing Versus Sideshadowing. 113 115 118 121 124 3.3.1 3.3.2 3.3.3 3.3.4 3.3.5 Symbolic Foreshadowing and Chekhov's Rifles. What Is Essential in a
Story?. From Preparation to Delivery. Red Herrings, MacGuffins and Shaggy Dogs. Case Study: Foreshadowing in Roberto Benlgni's Filmography. 125 126 128 130 132 3.4 3.4.1 3.4.2 Narration. 136 Narration and Archetypes. 138 Case Study: Star Wars in 31 Narratemes. 143 3.5 3.5.1 3.5.2 145 146 Montage. Types and Theories. Case Study: Soft Power and National Branding Through Montage: The Commercial "Dynamic Korea".
References. 154 161 4 Means: Sound, Image and Language. 163 4.1 Sound. 164 4.1.1 Sound Design. 164 4.1.2 Soundtrack. 167 4.1.3 Case Study: The Functions of Music in Back to the Future. 170 4.2 Image. 178 4.2.1 Colors. 180 4.2.2 CameraWork. 182
XIV 4.2.3 Contents Case Study: King Kong and the Visual Human-Animal Hybrids. 197 4.3 Language. 208 4.3.1 4.3.2 4.3.3 Speech. 209 Writing. 212 Case Study: Figures of Speech in Dialogues. 214 References. 220 5 Properties: Taxonomy, Culture, Thematicity, Performance, Technology. 221 5.1 5.1.1 Taxonomy. 225 Case Study: Western as Genre, Sub-Genres and Cross-Genres. 227 5.2 5.2.1 Culture. 237 Case Study: Cultural Clichés in the
Audiovisual Representation of Vegetarians. 238 5.3 Thematicity. 245 5.3.1 5.4 Case Study: The City as a "Theme" and the Case of Marseille. 247 Performance. 255 5.4.1 5.5 Case Study: Performative Elements in the Beatles' Promos. 256 Technology. 262 5.5.1 Case Study: The Notion of "Screen" in Audiovisuality. 264 References.268 Supplementary Information Index of Audiovisual Fictional Characters. 273 Index of Films, Programs, Music Videos, Videogames and Other Audiovisual Texts. 275 Index of
Names. 279
Dario Martinelli What You See Is What You Hear Creativity and Communication in Audiovisual Texts What You See Is What You Hear develops a unique model of analysis that helps students and advanced scholars alike to look at audiovisual texts from a fresh perspective. Adopting an engaging writing style, the author draws an accessible picture of the field, offering several analytical tools, historical background, and numerous case studies. Divided into five main sections, the monograph covers problems of definitions, history, and most of all analysis. The first part raises the main problems related to audiovisuality, including taxonomical and historical questions. The second part provides the bases for the understanding of audiovisual creative communication as a whole, introducing a novel theoretical model for its analysis. The next three part focus elaborate on the model in all its constituents and with plenty of case studies taken from the field of cinema, TV, music videos, advertising and other forms of audiovisuality. Methodologically, the book is informed by different paradigms of film and media studies, multimodality studies, structuralism, narratology, “auteur theory” in the broad sense, communication studies, semiotics, and the so-called “Numanities.” What You See Is What You Hear enables readers to better understand how to analyze the structure and content of diverse audiovisual texts, to discuss their different idioms, and to approach them with curiosity and critical spirit. |
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| spelling | Martinelli, Dario 1974- Verfasser (DE-588)1046716018 aut What you see is what you hear creativity and communication in audiovisual texts Dario Martinelli Cham, Switzerland Springer [2020] XVI, 282 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Audiovisuelle Medien (DE-588)4068939-6 gnd rswk-swf Interpretation (DE-588)4072905-9 gnd rswk-swf Audiovisuelle Medien (DE-588)4068939-6 s Interpretation (DE-588)4072905-9 s DE-604 Erscheint auch als Online-Ausgabe 978-3-030-32594-7 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032630110&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=032630110&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
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| title | What you see is what you hear creativity and communication in audiovisual texts |
| title_auth | What you see is what you hear creativity and communication in audiovisual texts |
| title_exact_search | What you see is what you hear creativity and communication in audiovisual texts |
| title_exact_search_txtP | What you see is what you hear creativity and communication in audiovisual texts |
| title_full | What you see is what you hear creativity and communication in audiovisual texts Dario Martinelli |
| title_fullStr | What you see is what you hear creativity and communication in audiovisual texts Dario Martinelli |
| title_full_unstemmed | What you see is what you hear creativity and communication in audiovisual texts Dario Martinelli |
| title_short | What you see is what you hear |
| title_sort | what you see is what you hear creativity and communication in audiovisual texts |
| title_sub | creativity and communication in audiovisual texts |
| topic | Audiovisuelle Medien (DE-588)4068939-6 gnd Interpretation (DE-588)4072905-9 gnd |
| topic_facet | Audiovisuelle Medien Interpretation |
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