首页> 外文期刊>H-ermes. Journal of Communication >Variazione del tema. Sinossi, trailer, trama, tema, significato nel re-editing di 'The Favourite' = Variation of the theme. Synopsis, trailer, plot, theme, meaning in the re-editing of 'The Favourite'
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Variazione del tema. Sinossi, trailer, trama, tema, significato nel re-editing di 'The Favourite' = Variation of the theme. Synopsis, trailer, plot, theme, meaning in the re-editing of 'The Favourite'

机译:Variazione del Tema。 Sinossi,预告片,trama,tema,有意义的内容在“收藏夹”中重新编辑=主题的变化。剧情简介,预告片,情节,主题,在“收藏夹”的重新编辑中表示

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The research hypothesis that guides the work is that the meaning of a film, as intended in a “procedural terms”, begins even before its vision and precisely in the dialogue between the paratexts to which we expose ourselves before its vision and the film itself, which can direct the viewer's interpretation in several ways. The video essay is a double experiment: on one hand, it reconstructs "what it is about" The Favourite by Yorgos Lanthimos by recomposing the information retrieved from some promotional texts that are available online. On the other hand it reassembles parts of the film verbatim to show how it would have been according to the narrative segments highlighted by the various synopses or, vice versa, recontextualizing the images of the trailer as they are presented in the film. If on one hand this highlights the partiality and the differences of focus in the various texts, on the other hand the editing operations, made possible by the very form of the essay, touch the living material of the narrative structure of the film by distorting it, thus giving it the possibility of revealing its own density by exposing the multiple interpretations it contains. A practice of "metacriticism” that analyzes the narrative to reveal the semantic paths that are not immediately obvious.
机译:指导这项工作的研究假设是,电影的意义,如“程序性术语”所指,甚至在视觉之前就开始了,确切地说是在我们在视觉之前就暴露给我们的副文字与电影本身之间的对话中开始了,可以通过多种方式指导观众的理解。该视频文章是一个双重实验:一方面,它通过重组从网上可获得的一些促销文本中检索到的信息,来重构“关于什么”的Yorgos Lanthimos的收藏夹。另一方面,它按原样重新组装了电影的各个部分,以根据各种摘要突出显示的叙事片段来表现它的本来面目,反之亦然,将预告片的图像重新呈现在电影中。如果这一方面突出了各种文本的偏颇性和焦点的差异,另一方面,由于文章的形式而使编辑操作成为可能,则通过扭曲电影叙事结构的生动材料,因此可以通过暴露其包含的多种解释来揭示其自身的密度。一种“元批评”实践,通过分析叙述来揭示并非立即显而易见的语义路径。

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