S. Grigoryev, N. Saenko, P. Volkova, Natalya Goncharenko
{"title":"屏幕文本的梦幻性和叙事性","authors":"S. Grigoryev, N. Saenko, P. Volkova, Natalya Goncharenko","doi":"10.29051/el.v8iesp.1.16930","DOIUrl":null,"url":null,"abstract":"It is argued that the screen narrative is the most effective means of representing dreaming, the temptation of voyeurism. A gradual historical movement of a screen narration from literary work with plots related to dreaming and to oneiric as the poetics of a future film is noted in the paper. The feature drama of the French director François Ozon \"In the House\" (2012) is analyzed. The postmodern characteristics of poetics and semiotics of the film are considered. A model \"the narrator and the listener\" is proposed as a semiotic interpretation of the film.","PeriodicalId":40201,"journal":{"name":"Revista EntreLinguas","volume":"8 1","pages":""},"PeriodicalIF":0.0000,"publicationDate":"2022-03-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Dreamlike and narrative nature of screen texts\",\"authors\":\"S. Grigoryev, N. Saenko, P. Volkova, Natalya Goncharenko\",\"doi\":\"10.29051/el.v8iesp.1.16930\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"It is argued that the screen narrative is the most effective means of representing dreaming, the temptation of voyeurism. A gradual historical movement of a screen narration from literary work with plots related to dreaming and to oneiric as the poetics of a future film is noted in the paper. The feature drama of the French director François Ozon \\\"In the House\\\" (2012) is analyzed. The postmodern characteristics of poetics and semiotics of the film are considered. A model \\\"the narrator and the listener\\\" is proposed as a semiotic interpretation of the film.\",\"PeriodicalId\":40201,\"journal\":{\"name\":\"Revista EntreLinguas\",\"volume\":\"8 1\",\"pages\":\"\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2022-03-30\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Revista EntreLinguas\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.29051/el.v8iesp.1.16930\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Revista EntreLinguas","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.29051/el.v8iesp.1.16930","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
It is argued that the screen narrative is the most effective means of representing dreaming, the temptation of voyeurism. A gradual historical movement of a screen narration from literary work with plots related to dreaming and to oneiric as the poetics of a future film is noted in the paper. The feature drama of the French director François Ozon "In the House" (2012) is analyzed. The postmodern characteristics of poetics and semiotics of the film are considered. A model "the narrator and the listener" is proposed as a semiotic interpretation of the film.
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