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Travel Directions

机译:旅行方向

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Travel Directions. In telling the story of their own trips, vacations and excursions through film, amateur movie makers use opening and closing credits, as well as footage of sign posts and road signs, to articulate the narration of their experience “into stages”. While opening and closing credits – like captions for intermissions and transitions between sequences – belong to the paratextual dimension of thresholds, footage of sign posts and road signs enters into the diegesis and is thus internal to the film text or “intra-textual”. However, Roger Odin claim that a key feature of family film is the absence of text. Given this assertion, we may ask what is the function of textual insertions within amateur movie makers’ narrations of their journeys, especially since textual additions are extremely common in amateur travel films. As was already mentioned, Odin identifies the deliberate absence of textual elements as a key feature of family films a feature that indeed determines their significance as a sign. One of the multiple readings that Odin offers of this absence is that the stories involved in family films cannot be constrained within narrative limits. The compulsiveness to shoot every event imprinted in the film would constrain one to participate in a larger film extending throughout the entire family history, the end of which would only come with the family’s own extinction. We may ask how textual inserts relate to the narrative structure of the story. On the one hand, textual inserts usually serve to indicate the places and year of a particular experience (and to mark the end of the story with the word “end”). On the other hand, textual inserts serve not only to delimit the spatio-temporal dimension of events, but also to constrain them within a finite space that is delimited as “other”— the space of traveling within which the amateur filmmaker’s journey unfolds next to their loved ones as an extra-ordinary occasion external to the domestic context.
机译:旅行方向。在讲述自己的旅行故事,通过电影的假期和游览,业余电影制造商使用开放和关闭信用,以及签名帖子和道路标志,阐明他们经验的叙述“进入阶段”。在打开和关闭信用证时,序列之间的间歇性和转换的标题 - 属于阈值的比喻术尺寸,标志柱和道路标志的镜头进入模具,因此在电影文本或“文本内”内部。然而,Roger Odin声称家庭电影的一个关键特征是没有文本。鉴于此断言,我们可能会询问业余电影制造商在旅程中的叙述中文本插入的功能是什么,特别是因为业余旅行电影中的文本添加剂非常常见。如上所述,Odin将故意缺乏文本元素作为家庭电影的关键特征,确实确定了它们作为标志的重要性。奥丁本缺席的多重读数之一是,家庭胶片中涉及的故事不能限制在叙事范围内。强制拍摄电影中印记的每一件事都会限制一个人参与整个家族历史的延伸的更大电影,其结束只会随着家庭自己的灭绝而延伸。我们可能会询问文本插入如何与故事的叙述结构相关。一方面,文本插入通常用于指示特定体验的地方和年份(并用“结束”字样标记故事的末尾)。另一方面,文本插入不仅可以限制事件的时空维度,而且还用于限制它们在被分隔为“其他”的有限空间内 - 业余电影制片人的旅程沿旁边的旅行中的旅行空间他们所爱的人作为国内背景外的超普通场合。

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