Abstract
This paper revisits a particular area of concern in computer generated (CG) visual effects, namely, the problem of the space in dynamic, multiple panels created by digital processes. The paper critiques recent statements made on narrative understanding, positing equivalences between a viewer’s navigation across dynamic frames in CG images and human-computer interactions, as well as claims of narrative complexity in films using dynamic frames. This paper will argue that it is necessary to approach the meaning construction of cinematic space by distinguishing analytical levels of materiality from their discursive meaning, because the visual effect created by the manipulation of a dynamic spatial layout does not necessarily burden the viewer’s linear path for constructing coherent spatial meaning.
References
Bateman, John A. 2007. Towards a grande paradigmatique of film: Christian Metz reloaded. Semiotica 167(1/4). 13–64.10.1515/SEM.2007.070Suche in Google Scholar
Bateman, John A. 2011. The decomposability of semiotic modes. In Kay L. O’Halloran & Bradley A. Smith (eds.), Multimodal studies: Multiple approaches and domains, 17–38. London: Routledge.Suche in Google Scholar
Bateman, John A. & Francisco O. D. Veloso. 2013. The semiotic resources of comics in movie adaptation: Ang Lee’s Hulk (2003) as a case study. Studies in Comics 4(1). 137–159.10.1386/stic.4.1.135_1Suche in Google Scholar
Bauer, Matthias. 2007. (Don’t) say yes to another excess: Ang Lee’s transformation der Hulk- Legende. Film-Konzepte 5(1). 81–96.Suche in Google Scholar
Bazin, Andre. 1967. What is cinema? Hugh Gray (trans.). Berkeley: University of California Press.Suche in Google Scholar
Ben-Shaul, Nitzan. 2008. Hypernarrative interactive cinema: Problems and solutions. Amsterdam: Rodopi.10.1163/9789401206297Suche in Google Scholar
Bernard, Mark & James Bucky Carter. 2005. Alan Moore and the graphic novel: Confronting the fourth dimension. Interdisciplinary Comic Studies 1(2). http://www.english.ufl.edu/imagetext/archives/v1_2/carter/index.shtmlSuche in Google Scholar
Bordwell, David. 2002. Intensified continuity: Visual style in contemporary American films. Film Quarterly 55(3). 16–28.10.1525/fq.2002.55.3.16Suche in Google Scholar
Bordwell, David & Kristin Thompson. 1976. Space and narrative in the films of Ozu. Screen 17(2). 41–73.10.1093/screen/17.2.41Suche in Google Scholar
Bordwell, David & Kristin Thompson. 2013. Film art: An introduction, 10th edn. New York: McGraw-Hill.Suche in Google Scholar
Deleuze, Gilles. 1986. Cinema 1: The movement-image, Hugh Tomlinson & Barbara Haberjam (eds.). London: Athlone Press.10.5040/9781350251977Suche in Google Scholar
Dorsch, T. 1983. Classical literary criticism: Aristotle, Horace, Longinus. London: Penguin.Suche in Google Scholar
Ecke, Jochen. 2010. Spatializing the movie screen: How mainstream cinema is catching up on the formal potentialities of the comic book page. In Mark Berninger, Jochen Ecke & Gideon Haberkorn (eds.), Comics as a nexus of cultures: Essays on the interplay of media, disciplines and international perspectives. 7–20. Jefferson, NC & London: McFarland.Suche in Google Scholar
Elsaesser, Thomas. 1998. Specularity and engulfment: Francis Ford Coppola’s Dracula. In Steve Neale & Murray Smith (eds.), Contemporary Hollywood cinema. 191–208. London: Routledge.Suche in Google Scholar
Elvemo, Johan-Magnus. 2013. Spatial perception and diegesis in multi-channel surround cinema. New Soundtrack 3. 31–44.10.3366/sound.2013.0034Suche in Google Scholar
Garwood, Ian. 2008. Sound and space in the split-screen movie. Refractory 14. http://refractory.unimelb.edu.au/2008/12/27/garwood/Suche in Google Scholar
Halliday, Michael A. K. 1978. Language as social semiotic. London: Edward Arnold.Suche in Google Scholar
Halliday, Michael A. K. & Christian M. I. M. Matthiessen. 2004. An introduction to functional grammar, 3rd edn. London: Edward Arnold.Suche in Google Scholar
Hjelmslev, Louis. 1961 [1943]. Prolegomena to a theory of language, F. J. Whitfield (trans.). Madison, WI: University of Wisconsin Press.Suche in Google Scholar
Hochberg, Julian & Virginia Brooks. 1996. Movies in the mind’s eye. In David Bordwell & Noel Carroll (eds.), Post-theory: reconstructing film studies. 368–387. Madison, WI: University of Wisconsin Press.Suche in Google Scholar
Manovich, Lev. 2000. What is digital cinema? In Peter Lunenfeld (ed.), The digital dialectic: New essays on new media. Cambridge: MIT Press.Suche in Google Scholar
Nedelcu, Marius. 2013. From panoramic image to virtual reality, through cinema. Close Up 1(1). 44–53.Suche in Google Scholar
Nochimson, Martha. 2002. Mulholland Drive. Film Quarterly 56. 42.10.1525/fq.2002.56.1.37Suche in Google Scholar
Plantinga, Carl R. 1997. Rhetoric and representation in nonfiction film. Cambridge: Cambridge University Press.Suche in Google Scholar
Plowman, Lydia & Rosemary Luckin. 1999. Designing multimedia for learning: Narrative guidance and narrative construction. In Proceedings of the SIGCHI conference on Human Factors in Computing Systems, 310–317. New York: ASM.10.1145/302979.303098Suche in Google Scholar
Saxton, Libby. 2007. Secrets and revelations: Off-screen space in Michael Haneke’s Cache (2005). Studies in French Cinema 7(1). 5–17.10.1386/sfci.7.1.5_1Suche in Google Scholar
Shneiderman, Ben & Benjamin Bedersen. 2005. Maintaining concentration to achieve task completion. In Proceedings of the 2005 conference on designing for user experience. New York: AIGA: American Institute of Graphic Arts.Suche in Google Scholar
Smith, Murray. 1995. Engaging characters: Fiction, emotion, and the cinema. Oxford: Oxford University Press.Suche in Google Scholar
Stewart, Garrett. 2009. Digital fatigue: Imaging war in recent American film. Film Quarterly 62(4). 45–55.10.1525/fq.2009.62.4.45Suche in Google Scholar
Stewart, Garrett. 2010. Pre-War trauma: Haneke’s The White Ribbon (2009). Film Quarterly 63(4). 40–47.10.1525/FQ.2010.63.4.40Suche in Google Scholar
Stewart, Garrett. 2013. Surveillance cinema. Film Quarterly 66(2). 5–15.10.1525/fq.2012.66.2.5Suche in Google Scholar
Tseng, Chiao-I. 2012. Audiovisual texture in scene transition. Semiotica 192(1/4). 123–160.10.1515/sem-2012-0091Suche in Google Scholar
Tudor, Deborah. 2008. The eye of the frog: Questions of space in films using digital processes. Cinema Journal 48(1). 90–110.10.1353/cj.0.0068Suche in Google Scholar
van Leeuwen, Theo. 2005. Introducing social semiotics. London: Routledge.10.4324/9780203647028Suche in Google Scholar
Verevis, Constantine. 2005. Timecode and splitscreen. In Nicolas Rombes (ed.), New punk cinema, 168–169. Edinburgh: Edinburgh University Press.10.3366/edinburgh/9780748620340.003.0012Suche in Google Scholar
Whissel, Kristen. 2010. The digital multitude. Cinema Journal 49(4). 90–110.10.1353/cj.2010.0005Suche in Google Scholar
White, Hayden. 2010. The fiction of narrative. Essays on history, literature, and theory, 1957–2007. Baltimore: John Hopkins University Press.Suche in Google Scholar
Wijekumar, Kay. 2008. Technology interrupted cognition: Implications for technology enhanced learning. In J. Luca & E. Weippl (eds.), Proceedings of world conference on educational multimedia, hypermedia and telecommunications, 1170–1179. Waynesville: Association for the Advancement of Computing in Education.Suche in Google Scholar
©2016 by De Gruyter Mouton
Artikel in diesem Heft
- Frontmatter
- Anthropological-semiotics of rhythm and animating modernity in China: A rhythmanalysis of Princess Iron Fan
- Individuating in the dark: Diagrammatic reasoning and attentional shifts
- The free slave paradox
- Size and shape depictions in the manual modality: A taxonomy of iconic devices in Adamorobe Sign Language
- The thematic structure of homepages: An exploratory systemic-functional account
- Revisiting dynamic space in film from a semiotic perspective
- A semiotic analysis of anti-identity construction in fictional narratives from the viewpoint of modeling systems theory
- Rethinking semiotics: Toward a theory of intentional sign
- Two approaches to defining internal, external, and zero-focalization
- Zero sign duality in visual semiotics
- Conceptual embodiment in visual semiotics
- Reading palm-up signs: Neurosemiotic overview of a common hand gesture
- Does one truly need to belong?: A case for the need to meaningfully exist
- Review articles
- Review of Speaking hatefully: Culture, communication, and political action in Hungary
- Exploring stories
Artikel in diesem Heft
- Frontmatter
- Anthropological-semiotics of rhythm and animating modernity in China: A rhythmanalysis of Princess Iron Fan
- Individuating in the dark: Diagrammatic reasoning and attentional shifts
- The free slave paradox
- Size and shape depictions in the manual modality: A taxonomy of iconic devices in Adamorobe Sign Language
- The thematic structure of homepages: An exploratory systemic-functional account
- Revisiting dynamic space in film from a semiotic perspective
- A semiotic analysis of anti-identity construction in fictional narratives from the viewpoint of modeling systems theory
- Rethinking semiotics: Toward a theory of intentional sign
- Two approaches to defining internal, external, and zero-focalization
- Zero sign duality in visual semiotics
- Conceptual embodiment in visual semiotics
- Reading palm-up signs: Neurosemiotic overview of a common hand gesture
- Does one truly need to belong?: A case for the need to meaningfully exist
- Review articles
- Review of Speaking hatefully: Culture, communication, and political action in Hungary
- Exploring stories