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| reflexivity in film: Reflexivity in Film and Literature Robert Stam, 1992 Reflexivity refers to those moments in fiction and film when the work suddenly calls attention to itself as a fictional construct. For example, in literature a character might suddenly step out of the story and address the reader. |
| reflexivity in film: Production Culture John Thornton Caldwell, 2008-03-25 In Production Culture, John Thornton Caldwell investigates the cultural practices and belief systems of Los Angeles–based film and video production workers: not only those in prestigious positions such as producers and directors but also many “below-the-line” laborers, including gaffers, editors, and camera operators. Caldwell analyzes the narratives and rituals through which workers make sense of their labor and critique the film and TV industry as well as the culture writ large. As a self-reflexive industry, Hollywood constantly exposes itself and its production processes to the public; workers’ ideas about the industry are embedded in their daily practices and the media they create. Caldwell suggests ways that scholars might learn from the industry’s habitual self-scrutiny. Drawing on interviews, observations of sets and workplaces, and analyses of TV shows, industry documents, economic data, and promotional materials, Caldwell shows how film and video workers function in a transformed, post-network industry. He chronicles how workers have responded to changes including media convergence, labor outsourcing, increasingly unstable labor and business relations, new production technologies, corporate conglomeration, and the proliferation of user-generated content. He explores new struggles over “authorship” within collective creative endeavors, the way that branding and syndication have become central business strategies for networks, and the “viral” use of industrial self-reflexivity to motivate consumers through DVD bonus tracks, behind-the-scenes documentaries, and “making-ofs.” A significant, on-the-ground analysis of an industry in flux, Production Culture offers new ways of thinking about media production as a cultural activity. |
| reflexivity in film: Film within Film - Self reflexivity in European Auteur Cinema Jürgen Tobisch, 2008-09-10 Master's Thesis from the year 2003 in the subject Film Science, grade: 1,0, University of Edinburgh, language: English, abstract: Wim Wenders, one of the key figures of New German Cinema, a movement similar to the “Nouvelle Vague” in some ways, is of another generation than Fellini and Godard. In his film “Der Stand der Dinge” (1982) he literally commutes between the two poles of his filmmaking, Europe and the US. The film begins in Portugal, where a film crew is forced to stop shooting and ends at the place where all the great cinema myths arise, Hollywood. Wenders’ film is an attempt by a young filmmaker to find a stable creative position in unstable times. (Wenders had just experienced great difficulties in making “Hammett” (1982) in the US). In “Der Stand der Dinge” this is exemplified by the direct inclusion of his own thoughts about European and American filmmaking, images and stories, and black-andwhite and colour film stock, opposites that are not harmoniously resolved at the end. Among the three films discussed Wenders’ film within the film is the only one not completed, suggesting an unsure future for the cinema. In examining these three films, I shall focus on the following aspects: 6 • In what way does the film reflect on the history of motion pictures (references to it)? • What attitude does the filmmaker have concerning the artificial-illusionist elements of his profession/product? • How does the filmmaker deal with the narrative and filmic conventions of his profession? • What does the film tell us about the film director’s artistic and working style. Does “life imitates art” in these films? • To which extent can autobiographic elements be found in these films and can any parallels between the director in the film and the director of the film be drawn? • How can the film be classified in the oeuvre of the director? Does it mark the end of one phase of his work and/or lead into a new one? • How is the “film within the film” plot accomplished? Finally, all three films will be compared with each other with regard to the above mentioned questions which will then lead to a final assessment of the self-reflexivity , explored in these films. [...] |
| reflexivity in film: Reflexivity in Film and Literature Robert Stam, 1992 |
| reflexivity in film: Musical Sincerity and Transcendence in Film Timothy B. Cochran, 2021-08-17 Musical Sincerity and Transcendence in Film focuses on the ways filmmakers treat music reflexively—that is, draw attention to what it is and what it can do. Examining a wide range of movies from recent decades including examples from Indiewood, teen film, and blockbuster cinema, the book explores two recurring ideas about music implied by foregrounded musical activity on screen: that music can be a potent means of sincere expression and genuine human connection and that music can enable transcendence of disenchantment and the mundane. As an historical musicologist, Timothy Cochran explores these assumptions through analysis of musical style, aesthetic implications, and narrative strategy while treating the ideas as historically-grounded and culturally-situated with conceptual origins often lying outside of film. The book covers eclectic critical terrain to highlight various layers of musical sincerity and transcendence in film, including the nineteenth-century aesthetics of E.T.A. Hoffmann, David Foster Wallace’s literary resistance to irony (sometimes called the New Sincerity), strategies of self-revelation in singer-songwriter repertoires, Lionel Trilling’s distinction between sincerity and authenticity, theories of play, David Nye’s notion of the American technological sublime, and Svetlana Boym’s writings on nostalgia. These lenses reveal that film is a way of perpetuating, revising, and critiquing ideas about music and that music in film is a potent means of exploring broader social, emotional, and spiritual desires. |
| reflexivity in film: Metacinema David LaRocca, 2021 When a work of art shows an interest in its own status as a work of art-either by reference to itself or to other works-we have become accustomed to calling this move meta. While scholars and critics have, for decades, acknowledged reflexivity in films, it is only in Metacinema, for the first time, that a group of leading and emerging film theorists join to enthusiastically debate the meanings and implications of the meta for cinema. In ten new essays on vital canonical films including 8-1/2, Holy Motors, Funny Games, and Clouds of Sils Maria, contributors chart, explore, and advance the ways in which metacinema is at once a mode of filmmaking and a heuristic for studying cinematic attributes. What results is not just an engagement with certain practices and concepts in widespread use in the movies (from Hollywood to global cinema, from documentary to the experimental and avant-garde), but also the development of a veritable and vital new genre of film studies. With more and more films expressing reflexivity, recursion, reference to other films, mise-en-abîme, seriality, and exhibiting related intertextual traits, the time is overdue for the kind of capacious yet nuanced critical study found in Metacinema. |
| reflexivity in film: Self-reference in the Media Winfried Nöth, Nina Bishara, 2007 Semiotics has had a profound impact on our comprehension of a wide range of phenomena, from how animals signify and communicate, to how people read TV commercials. This series features books on semiotic theory and applications of that theory to understanding media, language, and related subjects. The series publishes scholarly monographs of wide appeal to students and interested non-specialists as well as scholars. AAS is a peer-reviewed series of international scope. |
| reflexivity in film: Film Theory Goes to the Movies Jim Collins, Ava Preacher Collins, Hilary Radner, 2012-10-02 Film Theory Goes to the Movies fills the gap in film theory literature which has failed to analyze high-grossing blockbusters. The contributors in this volume, however, discuss such popular films as The Silence of the Lambs, Dances With Wolves, Terminator II, Pretty Woman, Truth or Dare, Mystery Train, and Jungle Fever. They employ a variety of critical approaches, from industry analysis to reception study, to close readings informed by feminist, deconstructive and postmodernist theory, as well as recent developments in African American and gay and lesbian criticism. An important introduction to contemporary Hollywood, this anthology will be of interest to those involved in the fields of film theory, literary theory, popular culture, and women's studies. |
| reflexivity in film: Reflexivity in Film and Literature Robert Stam, 1992 Reflexivity refers to those moments in fiction and film when the work suddenly calls attention to itself as a fictional construct. For example, in literature a character might suddenly step out of the story and address the reader. |
| reflexivity in film: Fictionality, Factuality, and Reflexivity Across Discourses and Media Erika Fülöp, 2021-06-08 Concerned with the nature of the medium and the borders between fact and fiction, reflexivity was a ubiquitous feature of modernist and postmodernist literature and film. While in the wake of the post-postmodern “return to the real” cultural criticism has little time for discussions of reflexivity, it remains a key topic in narratology, as does fictionality. The latter is commonly defined opposition to the real and the factual, but remains conditioned by historical, cultural, discursive, and medium-related factors. Reflexivity blurs the boundaries between fact and fiction, however, by giving fiction a factual edge or by questioning the limits of factuality in non-fictional discourses. Fictionality, factuality, and reflexivity thus constitute a complex triangle of concepts, yet they are rarely considered together. This volume fills this gap by exploring the intricacies of their interactions and interdependence in philosophy, literature, film, and digital media, providing insights into a broad range of their manifestations from the ancient times to today, from East Asia through Europe to the Americas. |
| reflexivity in film: Film Worlds Daniel Yacavone, 2014-12-23 Film Worlds unpacks the significance of the worlds that narrative films create, offering an innovative perspective on cinema as art. Drawing on aesthetics and the philosophy of art in both the continental and analytic traditions, as well as classical and contemporary film theory, it weaves together multiple strands of thought and analysis to provide new understandings of filmic representation, fictionality, expression, self-reflexivity, style, and the full range of cinema's affective and symbolic dimensions. Always more than fictional worlds and storyworlds on account of cinema's perceptual, cognitive, and affective nature, film worlds are theorized as immersive and transformative artistic realities. As such, they are capable of fostering novel ways of seeing, feeling, and understanding experience. Engaging with the writings of Jean Mitry, Pier Paolo Pasolini, Christian Metz, David Bordwell, Gilles Deleuze, and Hans-Georg Gadamer, among other thinkers, Film Worlds extends Nelson Goodman's analytic account of symbolic and artistic worldmaking to cinema, expands on French philosopher Mikel Dufrenne's phenomenology of aesthetic experience in relation to films and their worlds, and addresses the hermeneutic dimensions of cinematic art. It emphasizes what both celluloid and digital filmmaking and viewing share with the creation and experience of all art, while at the same time recognizing what is unique to the moving image in aesthetic terms. The resulting framework reconciles central aspects of realist and formalist/neo-formalist positions in film theory while also moving beyond them and seeks to open new avenues of exploration in film studies and the philosophy of film. |
| reflexivity in film: Reflexivity in film , 2013 |
| reflexivity in film: Screening Modernism András Bálint Kovács, 2008-09-15 Casting fresh light on the renowned productions of auteurs like Antonioni, Fellini, and Bresson and drawing out from the shadows a range of important but lesser-known works, Screening Modernism is the first comprehensive study of European art cinema’s postwar heyday. Spanning from the 1950s to the 1970s, András Bálint Kovács’s encyclopedic work argues that cinematic modernism was not a unified movement with a handful of styles and themes but rather a stunning range of variations on the core principles of modern art. Illustrating how the concepts of modernism and the avant-garde variously manifest themselves in film, Kovács begins by tracing the emergence of art cinema as a historical category. He then explains the main formal characteristics of modern styles and forms as well as their intellectual foundation. Finally, drawing on modernist theory and philosophy along the way, he provides an innovative history of the evolution of modern European art cinema. Exploring not only modernism’s origins but also its stylistic, thematic, and cultural avatars, Screening Modernism ultimately lays out creative new ways to think about the historical periods that comprise this golden age of film. |
| reflexivity in film: Kant on Self-Knowledge and Self-Formation Katharina T. Kraus, 2020-12-03 Explores the relationship between self-knowledge, individuality, and personal development by reconstructing Kant's account of personhood. |
| reflexivity in film: Mindscreen Bruce F. Kawin, 2006 In the opening chapter of this groundbreaking work, Bruce Kawin asks: can a film which is already the dream of its maker and its audience, and which can present itself as the dream of one of its characters appear, finally, to dream itself? Contrary to the classic assumption that all film narration is third person, the author contends that a movie can be narrated in first person through a consciousness that originates either on screen or off. Through a discussion of Keaton, Welles, Resnais, Bergman, Godard, and even Chuck Jones, Kawin shows how the self-reflexivity of film stimulates the aesthetic, political, and psychological processes of the audience, making possible a greater knowledge and acceptance of ourselves. |
| reflexivity in film: The Reflexive Imperative in Late Modernity Margaret S. Archer, 2012-05-03 What do young people want from life? This book shows how the 'internal conversation' guides individual choices. |
| reflexivity in film: Documenting Ourselves Sharon R. Sherman, 2014-10-17 Since Robert Flaherty's landmark film Nanook of the North (1922) arguments have raged over whether or not film records of people and traditions can ever be authentic. And yet never before has a single volume combined documentary, ethnographic, and folkloristic filmmaking to explore this controversy. What happens when we turn the camera on ourselves? This question has long plagued documentary filmmakers concerned with issues of reflexivity, subject participation, and self-consciousness. Documenting Ourselves includes interviews with filmmakers Les Blank, Pat Ferrero, Jorge Preloran, Bill Ferris, and others, who discuss the ways their own productions and subjects have influenced them. Sharon Sherman examines the history of documentary films and discusses current theiroeis and techniques of folklore and fieldwork. But Sharon Sherman does not limit herself to the problems faced by filmmakers today. She examines the history of documentary films, tracing them from their origins as a means of capturing human motion through the emergence of various film styles. She also discusses current theories and techniques of folklore and fieldwork, concluding that advances in video technology have made the camcorder an essential tool that has the potential to redefine the nature of the documentary itself. |
| reflexivity in film: Cosmopolitan Cinema Felicia Chan, 2017-04-28 Introduction: cosmopolitanism and the cinema -- The cosmopolitan challenge of multilingual cinema -- Cosmopolitan memory and self-reflexive cinema -- Film festivals and cosmopolitan affect -- Embodiment as (cosmopolitan) encounter -- Postscript: critical cosmopolitanism and comparative cinema. |
| reflexivity in film: The Crisis of Political Modernism D. N. Rodowick, 2023-04-28 D.N. Rodowick offers a critical analysis of the development of film theory since 1968. He shows how debates concerning the literary principles of modernism—semiotics, structuralism, psychoanalysis, Marxism, and feminism—have transformed our understanding of cinematic meaning. Rodowick explores the literary paradigms established in France during the late 1960s and traces their influence on the work of diverse filmmaker/theorists including Jean-Luc Godard, Peter Gidal, Laura Mulvey, and Peter Wollen. By exploring the new French feminisms of Irigaray and Kristeva, he investigates the relation of political modernism to psychoanalysis and theories of sexual difference. In a new introduction written especially for this edition, Rodowick considers the continuing legacy of this theoretical tradition in relation to the emergence of cultural studies approaches to film. This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1995. D.N. Rodowick offers a critical analysis of the development of film theory since 1968. He shows how debates concerning the literary principles of modernism—semiotics, structuralism, psychoanalysis, Marxism, and feminism—have transformed our understanding |
| reflexivity in film: Hong Kong Dark Cinema Kim-Mui E. Elaine Chan, 2019-11-27 This book is a scholarly investigation of the historical development and contemporary transformation of film noir in today’s Hong Kong. Focusing on the evolvement of cinematic narratives, aesthetics, and techniques, the author balances a deep reading of the multiple filmic plots with a discussion of the cinematic portrayals of gender, romance, identities and power relations. Nuancing the prototypical cinematic form and tragic sense of classical film noir, the recent Hong Kong cinema turns around the classical generic role of film noir at the turn of the century to convey very different messages—joy, hope or love. This book examines how the mainstream cinema, or pre-and-post-Hong Kong cinema in particular, applies a peculiar strategy that makes rooms for the audience to enjoy a pleasure-giving process of reflexivity and also critique the mainstream ideology. With new analytical approaches and angles, this book breaks new ground in offering transcultural and cross-genre analyses on the cinema and its impact in local and international markets. This book is the first major scholarly investigation of the historical development and contemporary transformation of film noir in today’s Hong Kong. Focusing on the evolvement of cinematic narratives, aesthetics, and techniques, the author balances a deep reading of the multiple filmic plots with a refreshing discussion of the cinematic portrayals of gender, romance, identities and power relations. This book also revisits conceptual categories developed by Foucault, Lacan, Derrida and Butler. |
| reflexivity in film: A Crack in the Mirror Jay Ruby, 2016-11-11 Like Conrad's Marlow, whose tale of journeying into the heart of darkness gives us as much insight into one man's personality as it does into the mysteries of the dark world he explored, so the anthropologist's record of another culture contains more than objective, scientific data about his investigation. Embedded within it are clues to the personality of anthropology itself: the attitudes, approaches, even prejudices that at any given stage in history are inextricable from the ideology of the anthropologist. Therefore, the mirror he holds up to show us another culture can never be a perfect one. His own professional attitude toward his subject, as well as his choice of medium, are factors that create cracks in the mirror of anthropology through which we believe we view the life of other cultures. Hence, the concept of reflexivity and the striving to recognize how it warps in the portrayal of anthropological truth lie at the core of the twelve finely wrought essays collected in this volume. Wide ranging in geography as well as viewpoint, they highlight various methods and media (film, ethnography, text) through which an anthropologist chooses to portray a culture, and the various forms, such as art, theater, and ritual, through which a culture portrays itself. Recognizing the link between these two processes provides the key to cultural and methodological self awareness. Reflexivity is defined and clarified in the introduction and in three of the essays, and the remaining nine essays evince the principle through fieldwork and startling case studies. Essays by Jay Ruby and Eric Michaels shed new light on the enormous potential of film and video, showing how a form generally thought to be nonscientific can in fact give fresh insight into the scientific premises underlying the discipline's methodology. Essays by Barbara Babcock and Carol Ann Parssinen focus on the novel and ethnography, examining existing works. Anthropologists, as well as students of film, art, and theater, will find that this intriguing work begins to redefine traditional distinctions between science and the arts and brings to light fresh resources that are utilized in the search for anthropological truth. Contributors: Richard Schechner, Victor Turner, Barbara Myerhoff, Jay Ruby, Eric Michaels, Dennis Tedlock, George Marcus, Paul Rabinow, Barbara Babcock, Carol Ann Parssinen, and Dan Rose. |
| reflexivity in film: Linguistics and Economics Ferruccio Rossi-Landi, 2017-12-04 No detailed description available for Linguistics and Economics. |
| reflexivity in film: Refractions of Reality: Philosophy and the Moving Image John Mullarkey, 2008-12-11 This is the first book to explore all central issues surrounding the relationship between the film-image and philosophy. It tackles the work of particular philosophers of film (Žižek, Deleuze and Cavell) as well as general philosophical positions (Cognitivist and Culturalist), and analyses the ability of film to teach and create philosophy. |
| reflexivity in film: Breaking the Fourth Wall Tom Brown, 2013-08-12 An examination of the role of direct address within fiction cinema, focusing on its role in avant-garde or experimental cinema, and popular genre traditions. |
| reflexivity in film: Film Within Film - Self Reflexivity in European Auteur Cinema Jürgen Tobisch, 2008 Master's Thesis from the year 2003 in the subject Film Science, grade: 1,0, University of Edinburgh, 37 entries in the bibliography, language: English, abstract: Wim Wenders, one of the key figures of New German Cinema, a movement similar to the Nouvelle Vague in some ways, is of another generation than Fellini and Godard. In his film Der Stand der Dinge (1982) he literally commutes between the two poles of his filmmaking, Europe and the US. The film begins in Portugal, where a film crew is forced to stop shooting and ends at the place where all the great cinema myths arise, Hollywood. Wenders' film is an attempt by a young filmmaker to find a stable creative position in unstable times. (Wenders had just experienced great difficulties in making Hammett (1982) in the US). In Der Stand der Dinge this is exemplified by the direct inclusion of his own thoughts about European and American filmmaking, images and stories, and black-andwhite and colour film stock, opposites that are not harmoniously resolved at the end. Among the three films discussed Wenders' film within the film is the only one not completed, suggesting an unsure future for the cinema. In examining these three films, I shall focus on the following aspects: 6 - In what way does the film reflect on the history of motion pictures (references to it)? - What attitude does the filmmaker have concerning the artificial-illusionist elements of his profession/product? - How does the filmmaker deal with the narrative and filmic conventions of his profession? - What does the film tell us about the film director's artistic and working style. Does life imitates art in these films? - To which extent can autobiographic elements be found in these films and can any parallels between the director in the film and the director of the film be drawn? - How can the film be classified in the oeuvre of the director? Does it mark the end of one phase of his work and/or lead into a new one? - How is the film within the fi |
| reflexivity in film: Sketch Comedy Nick Marx, 2019-11-01 A history of sketch comedy on American television and analysis of what it says about American culture and society. In Sketch Comedy: Identity, Reflexivity, and American Television, Nick Marx examines some of the genre’s most memorable?and controversial?moments from the early days of television to the contemporary line-up. Through explorations of sketches from well-known shows such as Saturday Night Live, The State, Inside Amy Schumer, Key & Peele, and more, Marx argues that the genre has served as a battleground for the struggle between comedians who are pushing the limits of what is possible on television and network executives who are more mindful of the financial bottom line. Whether creating new catchphrases or transgressing cultural taboos, sketch comedies give voice to marginalized performers and audiences, providing comedians and viewers opportunities to test their own ideas about their place in society, while simultaneously echoing mainstream cultural trends. The result, Marx suggests, is a hilarious and flexible form of identity play unlike anything else in American popular culture and media. “An excellent study of a long-neglected area in television/media studies and is part of a larger turn toward the centrality of comedy in post-war U.S. culture.” —Jeffrey Sconce, Northwestern University “A stalwart of television . . . sketch comedy finally gets the in-depth critical attention it deserves . . . Marx shows how sketch comedy has fit (and been constrained by) TV’s industrial contexts, from live variety shows in its earliest days to movement across media in the era of multiple platforms. These case studies not only chart sketch comedy’s past, they provide the theoretical and analytical tools to consider its future.” —Ethan Thompson, Texas A&M University Corpus Christi |
| reflexivity in film: Turn to Film Hugo K. Letiche, Jean-Luc Moriceau, 2019 Turn to Film: Film in the Business Schooloffers creative and powerful uses of film in the business school classroom and surveys the pedagogical and performative value of watching films with students. This volume examines not only how film offers opportunities for learning and investigation, but also how they can be sources of ideological poison, self-delusion and mis-representation. Throughout the text, renowned contributors embrace film's power to embark on new adventures of thought by inventing images and signs, and by bringing novel concepts and fresh perspectives to the classroom. If film often reveals organizational dysfunctionality and absurdity, it also teaches us to understand the other, to see difference, and to accept experimentation. A wide spectra of films are examined for their pedagogical value in terms of what can be learned, explored and discussed by teaching with film and how film can be used as a tool of research and investigation. The book sees film in the classroom as an educational challenge wherein rich learning and personal development are encouraged. |
| reflexivity in film: Exploring Seriality on Screen Ariane Hudelet, Anne Crémieux, 2020-10-25 This collective book analyzes seriality as a major phenomenon increasingly connecting audiovisual narratives (cinematic films and television series) in the 20th and 21st centuries. The book historicizes and contextualizes the notion of seriality, combining narratological, aesthetic, industrial, philosophical, and political perspectives, showing how seriality as a paradigm informs media convergence and resides at the core of cinema and television history. By associating theoretical considerations and close readings of specific works, as well as diachronic and synchronic approaches, this volume offers a complex panorama of issues related to seriality including audience engagement, intertextuality and transmediality, cultural legitimacy, authorship, and medium specificity in remakes, adaptations, sequels, and reboots. Written by a team of international scholars, this book highlights a diversity of methodologies that will be of interest to scholars and doctoral students across disciplinary areas such as media studies, film studies, literature, aesthetics, and cultural studies. It will also interest students attending classes on serial audiovisual narratives and will appeal to fans of the series it addresses, such as Fargo, Twin Peaks, The Hunger Games, Bates Motel, and Sherlock. |
| reflexivity in film: The Material Image Brigitte Peucker, 2007 Focusing on intermediality, The Material Image situates film within questions of representation familiar from the other arts: What is meant by figuring the real? How is the real suggested by visual metaphors, and what is its relation to illusion? How is the spectator figured as entering the text, and how does the image enter our world? The film's spectator is integral to these concerns. Cognitive and phenomenological approaches to perception alike claim that spectatorial affect is real even when it is film that produces it. Central to the staging of intermediality in film, tableaux moments in film also figure prominently in the book. Films by Scorsese, Greenaway, Wenders, and Kubrick are seen to address painterly, photographic, and digital images in relation to effects of the real. Hitchcock's films are examined with regard to modernist and realist effects in painting. Chapters on Fassbinder and Haneke analyze the significance of tableau for the body in pain, while a final chapter on horror film explores the literalism of psychopathic tableau. Here, too, art and the bodyimages and the realare juxtaposed and entwined in a set of relations. |
| reflexivity in film: Beyond the Veil Aubrey Thamann, Kalliopi M Christodoulaki, 2021-05-14 Looking at the cultural responses to death and dying, this collection explores the emotional aspects that death provokes in humans, whether it is disgust, fear, awe, sadness, anger, or even joy. Whereas most studies of death and dying treat the subject from an objective viewpoint, the scholars in this collection recognize their inherent connection with death which allows for a new and more personal form of study. More broadly, this collection suggests a new paradigm in the study of death and dying. |
| reflexivity in film: Law in Film David Alan Black, 1999 The courtroom, like the movie theater, is an arena for the telling and interpreting of stories. Investigators piece them together, witnesses tell them, advocates retell them, and judges and juries assess their plausibility. These narratives reconstitute absent events through words, and their filming constitutes a double narrative: one important cultural practice rendered in the terms of another. Drawing on both film studies and legal scholarship, David A. Black explores the implications of representing court procedure, as well as other phases of legal process, in film. His study ranges from an inquiry into the common metaphorical ground between film and law, explored through the detective and the witness, to a critical survey of legal writings about the cinema, to close analyses of key films about law. In examining multiple aspects of law in film, Black sustains a focus on the central importance of narrative while also unearthing the influences--pleasure in film, power in law--that lie beyond the narrative realm. Black's penetrating study treats questions of narrative authority and structure, social authority, and cultural history, revealing the underlying historical, cultural, and cognitive connections between legal and cinematic practices. |
| reflexivity in film: Panel to the Screen Drew Morton, 2016-11-28 Over the past forty years, American film has entered into a formal interaction with the comic book. Such comic book adaptations as Sin City, 300, and Scott Pilgrim vs. the World have adopted components of their source materials' visual style. The screen has been fractured into panels, the photographic has given way to the graphic, and the steady rhythm of cinematic time has evolved into a far more malleable element. In other words, films have begun to look like comics. Yet, this interplay also occurs in the other direction. In order to retain cultural relevancy, comic books have begun to look like films. Frank Miller's original Sin City comics are indebted to film noir while Stephen King's The Dark Tower series could be a Sergio Leone spaghetti western translated onto paper. Film and comic books continuously lean on one another to reimagine their formal attributes and stylistic possibilities. In Panel to the Screen, Drew Morton examines this dialogue in its intersecting and rapidly changing cultural, technological, and industrial contexts. Early on, many questioned the prospect of a low art form suited for children translating into “high” art material capable of drawing colossal box office takes. Now the naysayers are as quiet as the queued crowds at Comic-Cons are massive. Morton provides a nuanced account of this phenomenon by using formal analysis of the texts in a real-world context of studio budgets, grosses, and audience reception. |
| reflexivity in film: Critical Dictionary of Film and Television Theory Roberta Pearson, Philip Simpson, 2005-12-08 The Critical Dictionary of Film and Television Theory clearly and accessibly explains the major theoretical approaches now deployed in the study of the moving image, as well as defining key theoretical terms. This dictionary provides readers with the conceptual apparatus to understand the often daunting language and terminology of screen studies. Entries include: *audience * Homi K. Bhabha * black cinema * the body * children and media * commodification * cop shows * deep focus * Umberto Eco * the gaze * Donna Haraway * bell hooks * infotainment * master narrative * medical dramas * morpheme * myth * panopticon * pastiche * pleasure * real time * social realism * sponsorship * sport on television * subliminal * third cinema * virtual reality Consultant Editors: David Black, USA, William Urricchio, University of Utrecht, The Netherlands, Gill Branston, Cardiff University, UK ,Elayne Rapping, USA |
| reflexivity in film: Larger Than Life R. Barton Palmer, 2010-06-30 The constellation of Hollywood stars burned brightly in the 1950s, even as the industry fell on hard economic times. Major artists of the 1940s--James Stewart, Jerry Lewis, and Gregory Peck--continued to exert a magical appeal but the younger generation of moviegoers was soon enthralled by an emerging cast, led by James Dean and Marlon Brando. They, among others, ushered in a provocative acting style, the Method, bringing hard-edged, realistic performances to the screen. Adult-oriented small-budget dramas were ideal showcases for Method actors, startlingly realized when Brando seized the screen in On the Waterfront. But, with competition from television looming, Hollywood also featured film-making of epic proportion--Ben-Hur and other cinema wonders rode onto the screen with amazing spectacle, making stars of physically impressive performers such as Charlton Heston. Larger Than Life offers a comprehensive view of the star system in 1950s Hollywood and also in-depth discussions of the decade's major stars, including Montgomery Clift, Judy Holliday, Jerry Lewis, James Mason, Marilyn Monroe, Kim Novak, Bing Crosby, Gene Kelly, Jayne Mansfield, and Audrey Hepburn. |
| reflexivity in film: The Legacy of Pierre Bourdieu Simon Susen, Bryan S. Turner, 2013-12-01 These critical essays bring together prominent scholars in the social sciences to consider the diverse nature of the legacy of Pierre Bourdieu in contemporary social theory. In offering a range of perspectives on the continuing relevance of Bourdieu’s sociology, the essays of this volume examine Bourdieu’s relationship to both classical and contemporary social theory. This collection constructs an intellectual bridge between French-speaking and English-speaking accounts of Bourdieu’s work. |
| reflexivity in film: Filmed Thought Robert B. Pippin, 2019-12-16 With the rise of review sites and social media, films today, as soon as they are shown, immediately become the topic of debates on their merits not only as entertainment, but also as serious forms of artistic expression. Philosopher Robert B. Pippin, however, wants us to consider a more radical proposition: film as thought, as a reflective form. Pippin explores this idea through a series of perceptive analyses of cinematic masterpieces, revealing how films can illuminate, in a concrete manner, core features and problems of shared human life. Filmed Thought examines questions of morality in Almodóvar’s Talk to Her, goodness and naïveté in Hitchcock’s Shadow of a Doubt, love and fantasy in Sirk’s All That Heaven Allows, politics and society in Polanski’s Chinatown and Malick’s The Thin Red Line, and self-understanding and understanding others in Nicholas Ray’s In a Lonely Place and in the Dardennes brothers' oeuvre. In each reading, Pippin pays close attention to what makes these films exceptional as technical works of art (paying special attention to the role of cinematic irony) and as intellectual and philosophical achievements. Throughout, he shows how films offer a view of basic problems of human agency from the inside and allow viewers to think with and through them. Captivating and insightful, Filmed Thought shows us what it means to take cinema seriously not just as art, but as thought, and how this medium provides a singular form of reflection on what it is to be human. |
| reflexivity in film: The Self-Reflexive Art of Don DeLillo Graley Herren, 2019-06-27 Don DeLillo has spent his career reflecting upon the creative processes of artists. In recent years he has become increasingly drawn to spectators and how they project and indulge their own private obsessions through art. The Self-Reflexive Art of Don DeLillo is the first book devoted to this dimension of DeLillo's art. It is also the first book to identify and analyze a signature DeLillo motif: the embedded author. In multiple novels, short stories, and plays, DeLillo inserts a character subtly implied as the creator of the very narrative we are reading or watching. Spanning his entire career but focusing primarily on his work from Underworld (1997) to Zero K (2016), The Self-Reflexive Art of Don DeLillo breaks important new ground in DeLillo studies. |
| reflexivity in film: Animation Paul Wells, 2019-07-25 Animation: Genre and Authorship explores the distinctive language of animation, its production processes, and the particular questions about who makes it, under what conditions, and with what purpose. In this first study to look specifically at the ways in which animation displays unique models of ‘auteurism’ and how it revises generic categories, Paul Wells challenges the prominence of live-action moviemaking as the first form of contemporary cinema and visual culture. The book also includes interviews with Ray Harryhausen and Caroline Leaf, and a full timeline of the history of animation. |
| reflexivity in film: Cinema's baroque flesh Saige Walton, 2016-09-14 In 'Cinema's Baroque Flesh', Saige Walton draws on the philosophy of Maurice Merleau-Ponty to argue for a distinct aesthetic category of film and a unique cinema of the senses: baroque cinema. Combining media archaeological work with art history, phenomenology, and film studies, the book offers close analyses of a range of historic baroque artworks and films, including 'Caché', 'Strange Days', the films of Buster Keaton, and many more. Walton pursues previously unexplored connections between film, the baroque, and the body, opening up new avenues of embodied film theory that can make room for structure, signification, and thought, as well as the aesthetics of sensation. |
| reflexivity in film: Picturing Culture Jay Ruby, 2000-08-15 Here, Jay Ruby—a founder of visual anthropology—distills his thirty-year exploration of the relationship of film and anthropology. Spurred by a conviction that the ideal of an anthropological cinema has not even remotely begun to be realized, Ruby argues that ethnographic filmmakers should generate a set of critical standards analogous to those for written ethnographies. Cinematic artistry and the desire to entertain, he argues, can eclipse the original intention, which is to provide an anthropological representation of the subjects. The book begins with analyses of key filmmakers (Robert Flaherty, Robert Garner, and Tim Asch) who have striven to generate profound statements about human behavior on film. Ruby then discusses the idea of research film, Eric Michaels and indigenous media, the ethics of representation, the nature of ethnography, anthropological knowledge, and film and lays the groundwork for a critical approach to the field that borrows selectively from film, communication, media, and cultural studies. Witty and original, yet intensely theoretical, this collection is a major contribution to the field of visual anthropology. |
Reflexivity (social theory) - Wikipedia
In epistemology, and more specifically, the sociology of knowledge, reflexivity refers to circular relationships between cause and effect, especially as embedded in human belief structures. A …
Reflexivity: What is it, and why is it important in your community?
Oct 4, 2021 · Reflexive thinking is having the ability (and commitment) to look inward and to see what some people refer to as a “standpoint.” Learn how you can practice reflexivity.
Challenging perspectives: Reflexivity as a critical approach to ...
Apr 28, 2023 · Reflexivity can be implemented by undertaking three, self-focused activities: (1) thinking about one’s own thinking; (2) observing emotions and thoughts, role boundaries and …
Reflexivity In Qualitative Research - Simply Psychology
Dec 17, 2024 · Reflexivity is a methodological tool in qualitative research that involves continuous self-awareness and critical self-reflection by the researcher on their potential biases, …
Full article: A practical guide to reflexivity in qualitative research ...
Apr 7, 2022 · In this AMEE Guide, we define reflexivity as a set of continuous, collaborative, and multifaceted practices through which researchers self-consciously critique, appraise, and …
What is Reflexivity? | Overview, Types, Techniques - ATLAS.ti
Reflexivity ensures that data collection and data analysis considers individual differences. Reflexivity, in the context of qualitative research, refers to the process of continually reflecting …
reflexivity - The University of Warwick
Apr 15, 2022 · Reflexivity involves questioning one’s own taken for granted assumptions. Essentially, it involves drawing attention to the researcher as opposed to ‘brushing her or him …
Practising reflexivity: Ethics, methodology and theory …
Jul 10, 2019 · In this article, I have offered an account of how I practised reflexivity and its influence on knowledge construction. Reflexivity prompted me to be sensitive to certain …
Six ways to get a grip on developing reflexivity statements
We present six recommendations to promote dialogue on the practice of reflexivity among researchers from various ontological and epistemological communities and encourage them to …
What is “reflexivity?” - IB Psychology
Mar 16, 2018 · Discover the role of reflexivity in qualitative research and how it ensures credible results. Understand the two types and the importance of self-awareness in the research process.
Reflexivity (social theory) - Wikipedia
In epistemology, and more specifically, the sociology of knowledge, reflexivity refers to circular relationships between cause and effect, especially as embedded in human belief structures. A …
Reflexivity: What is it, and why is it important in your community?
Oct 4, 2021 · Reflexive thinking is having the ability (and commitment) to look inward and to see what some people refer to as a “standpoint.” Learn how you can practice reflexivity.
Challenging perspectives: Reflexivity as a critical approach to ...
Apr 28, 2023 · Reflexivity can be implemented by undertaking three, self-focused activities: (1) thinking about one’s own thinking; (2) observing emotions and thoughts, role boundaries and …
Reflexivity In Qualitative Research - Simply Psychology
Dec 17, 2024 · Reflexivity is a methodological tool in qualitative research that involves continuous self-awareness and critical self-reflection by the researcher on their potential biases, …
Full article: A practical guide to reflexivity in qualitative research ...
Apr 7, 2022 · In this AMEE Guide, we define reflexivity as a set of continuous, collaborative, and multifaceted practices through which researchers self-consciously critique, appraise, and …
What is Reflexivity? | Overview, Types, Techniques - ATLAS.ti
Reflexivity ensures that data collection and data analysis considers individual differences. Reflexivity, in the context of qualitative research, refers to the process of continually reflecting …
reflexivity - The University of Warwick
Apr 15, 2022 · Reflexivity involves questioning one’s own taken for granted assumptions. Essentially, it involves drawing attention to the researcher as opposed to ‘brushing her or him …
Practising reflexivity: Ethics, methodology and theory …
Jul 10, 2019 · In this article, I have offered an account of how I practised reflexivity and its influence on knowledge construction. Reflexivity prompted me to be sensitive to certain …
Six ways to get a grip on developing reflexivity statements
We present six recommendations to promote dialogue on the practice of reflexivity among researchers from various ontological and epistemological communities and encourage them to …
What is “reflexivity?” - IB Psychology
Mar 16, 2018 · Discover the role of reflexivity in qualitative research and how it ensures credible results. Understand the two types and the importance of self-awareness in the research process.
