Dissertations / Theses on the topic 'Appropriated sound and style'

Rockumentary: Style, Performance, and Sound in a Documentary Genre is the comprehensive study of an audio-visual genre concerned with the nonfictional representation of rock music and related idioms. Sparked by the explosive rise in popularity of rock music in the 1960s, rockumentary follows a trajectory tracing the broader history of documentary practice, at times serving to reshape that history and at others providing the clearest examples of documentary's limits and potentials. It both captures and contributes to histories of documentary film and popular music generally, and rock music and rock culture specifically. It is noteworthy for its visual style, innovation in the area of film sound technology, and the complex industrial interactions which in part foster its development. Moreover, rockumentary serves as an early and ongoing example of the negotiation of the presence of stars and staged spectacles in the context of nonfiction film and video. It is the site where the anxieties about sound and the documentary image—an unease which runs throughout the history of cinema and has specific implications within the context of nonfiction film—are particularly acute, and the various conceptual and sociological issues surrounding film as a mediation of live experience versus a wholly constructed entity are crystallized most concretely. This dissertation presents rockumentary as an audio-visual genre with both artistic relevance and commercial appeal, and poses questions about the role of pleasure as a means of differentiating the corpus from other nonfiction film and video genres. Through textual analysis, reception studies, and documentary research, this dissertation contributes to film, media, and popular music studies, and lays the foundation for the study of nonfiction representations of popular music in contemporary moving images and new media.
Rockumentary: Style, Performance, and Sound in a Documentary Genre est une étude approfondie d'un genre audio-visuel dédié à la représentation non-fictive de la musique rock et de ses idiomes. Née de l'explosive croissance de popularité de la musique rock dans les années 60, le rockumentaire évolue en bordure de l'historique plus large de la pratique documentaire, se trouvant parfois à la remodeler et parfois à démontrer les limites et le potentiel du genre. Le rockumentaire contribue à l'histoire du documentaire et de la musique populaire en général, ainsi qu'à celle de la culture et de la musique rock. Il se démarque par son style visuel, son innovation dans le domaine de la technologie sonore cinématographique et par les relations industrielles complexes qui ont favorisé son développement. En outre, le rockumentaire met en évidence les tractations entre la présence de prestations misent en scène et de vedettes dans le cadre de films et de vidéos de non-fiction. Le rockumentaire est un lieu où les angoisses liées au son et à l'image documentaire – un malaise qui traverse l'histoire du cinéma et qui a des implications précises dans le contexte du cinéma de non-fiction – sont particulièrement vives. Également, les questions conceptuelles et sociologiques qui entourent le cinéma en tant que médiation de l'expérience en direct par rapport à une entité fabriquée y sont cristalisées de manière des plus concrètes. Cette dissertation présente le rockumentaire comme un genre audio-visuel ayant à la fois une pertinence artistique et un attrait commercial qui remet en question le rôle du plaisir comme manière de différencier le corpus des autres genres de films et de vidéos de non-fiction. Avec l'aide de l'analyse textuelle, d'études de réception et de recherche documentée, cette dissertation est un apport dans le domaine des études cinématographiques, médiatiques ainsi que des études de la musique populaire, puisqu'elle jette les bases sur l'étude des représentations non-fictives de la musique populaire dans les nouveaux médias et les images contemporaines.

This thesis attempts to chart the development of a Jamaican musical form known as dub. This development is considered primarily in terms of the island's encounter with a series of new playback, amplification, recording, and sound treatment technologies. Section I focuses on the formation of the Jamaican sound system (a network of powerful mobile discos) and its pivotal role in the birth of a fertile domestic record industry. Section II extends the investigation to the Jamaican recording studio and record industry. What distinguishes this work from others on Jamaican dub is its emphasis on technology, and theories of technology, within a geo-political framework. In Section I, this emphasis is most notably informed by the work of Harold Innis, Karl Marx and Lewis Mumford, with Marshall McLuhan and Walter Benjamin becoming more prominent in Section II. Key technologies in this analysis include mechanization (mechanical reproducibility), the Williamson amplification circuit, the House of Joy speaker, the dub plate (acetate phonograph) and vinyl record, twin-turntables and the microphone, the magnetic tape recorder, and perhaps most importantly, the multi-track recorder and interface (the multi-track mixing-board).

The focus of this essay is on examining the meanings of the onomatopoeia (sound imitating words) snap, crack and pop. Previous studies on onomatopoeia and sound symbolism are used to define the terms and create a model for an alternative categorization of these meanings. This model is then applied in a corpus study, conducted on the COCA (Corpus Of Contemporary American English) and BYU-BNC (The British National Corpus) corpora, to find a way to more accurately describe the meanings and functions of these words.  For this purpose the context in which snap, crack and pop are used is also addressed by observing how frequently they occur in formal and informal texts and which adjectives and adverbs frequently modify them. In the study it was discovered that these three words took on many different meanings that would be hard to list separately in a dictionary. These meanings did follow a pattern linked to the properties associated with the word. The study found snap, crack and pop to be informal words with a tendency to add emotion or effect to a statement. It is therefore concluded that sorting onomatopoeia by sound and non sound-related meaning and describing the informal characteristics of these words leads to a greater understanding of how they are used.

 

Keywords: Arbitrariness, crack, emotive, ideophones, mimetics, mimes, non-arbitrariness, onomatopoeia, phenomimes, phonomimes, pop, psychomimes, register, semantics, snap, sound symbolism and style.

This dissertation presents evidence for the influence which tenor Enrico Caruso had on the Italian Vocal Tradition. This impact was clearly boosted by the revolution realized in the fledgling recording industry, and the recordable disc. In the years of 1902-1920 gramophones became commonplace, and collecting recordings became an interest for many. This new technology required specialized skills, and was especially suited to certain qualities of voice. Caruso enjoyed immense success in this medium, in recording over 250 records. Italian vocal style at the turn of the century was changing, and Caruso employed a new "modern" style in his singing. His interpretive decisions, vocal method, and repertoire which he championed had an impact on the vocal tradition of future generations. Comparison of his recordings with tenors Fernando de Lucia, Giuseppe Anselmi, and Alessandro Bonci shows a marked contrast in styles of "the old school" and Caruso's "more straightforward" approach. A collection of historical documents for those who succeeded him include many biographies, reviews, and quotes to demonstrate the extent of his influence. Recordings also show a movement toward "the Caruso Sound." Jussi Bjoerling, Franco Corelli, Richard Tucker, Mario Lanza, and Luciano Pavarotti were all influenced by the great Caruso. Almost 100 years have passed since he sang his last performance. He continues to inspire singers to this day, through his recordings and legacy passed on by many generations. He is the ideal, the measuring stick for all tenors to follow, and continues even to today.

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Universidade Federal de Minas Gerais
This work aims to discuss the cinema of Carlos Reygadas, with the focuses on the importance of sound and its dynamics within the long duration take, a procedure that strongly characterizes the style of this director. Initially, excerpts from films Japón (2002), Battle in Heaven (2005) and Silent Light (2007) were analyzed to highlight the formation of a stylistic corpus and a predominantly contemplative and sensory conception of cinema. Then we elected Silent Light as a conductive thread of a broader analysis in relation to the main crop. Therefore, we had as main references studies by David Bordwell (2008) on traditional directors of the plan-sequence, as well as the categories and theoretical assumptions of Michel Chion (1994, 2009) on the uses of sound in cinema.
Esta dissertação tem por objetivo discutir o cinema de Carlos Reygadas, sob um recorte que se concentra especificamente na importância do som e de sua dinâmica no interior dos planos de longa duração, procedimento que caracteriza fortemente o estilo deste diretor. Inicialmente, trecho dos filmes Japón (2002), Batalha no Céu (2005) e Luz Silenciosa (2007) foram analisados para salientar a conformação de um corpus estilístico e de uma concepção de cinema de caráter predominantemente contemplativo e sensorial. Em seguida, elegemos Luz Silenciosa como o fio condutor de uma análise mais abrangente em relação ao principal recorte. Para tanto, tivemos como principais referências os estudos de David Bordwell (2008) sobre tradicionais diretores do plano-sequência, bem como as categorias e pressupostos teóricos de Michel Chion (1994; 2009) sobre usos do som no cinema.

1. Основи дизайну інтер’єру : навч. посіб. / О. П. Олійник, Л. Р. Гнатюк, В. Г. Чернявський. — К. : НАУ, 2011. — 228 с. 2. Безбородова, Л. А. Методика викладання музики в освітніх установах / Л.А. Безбородова, Ю.Б. Алієв. - М .: Видавничий центр «Академія», 2002. - 416 с. 3. Юртаева, А. Д. Зміна пріоритетів в конструюванні простору бібліотеки і перехідна вектор творчої діяльності - 2016. - 116-117 с.
Значення музики в розвитку духовного світу особистості дитини, його пізнавальних та інтелектуальних здібностей важко переоцінити. Соціальна значущість проєкту в першу чергу це — проблема будь-якого малого міста, селища — віддаленість від культурних центрів. Найчастіше музична школа стає основною культурною установою академічної спрямованості населеного пункту, тому створення оптимальних умов для розвитку творчого потенціалу дітей стає тут найбільш актуальним. Дитяча музична школа ставить перед собою завдання виховання гармонійно розвиненої людини, формування естетичних смаків на кращих зразках класичної музики, залучення до музикального мистецтва. В дизайні інтер’єру використаний екостиль. Екостиль дозволяє створити простір затишним й комфортним, що буде слугувати місцем для відпочинку, відновлення сил та енергії. Поєднання нестандартних форм, натуральних матеріалів створюють унікальну красу закладу.
The importance of music in the development of the spiritual world of the child's personality, his cognitive and intellectual abilities is difficult to overestimate. The social significance of the project is first of all a problem of any small town, settlement - remoteness from cultural centers. Most often, the music school becomes the main cultural institution of the academic orientation of the settlement, so the creation of optimal conditions for the development of children's creative potential becomes most relevant here. Children's music school aims to educate a harmoniously developed person, the formation of aesthetic tastes on the best examples of classical music, involvement in the art of music. Eco-style is used in the interior design. Eco-style allows you to create a cozy and comfortable space that will serve as a place for rest, recovery and energy. The combination of non-standard forms, natural materials create a unique beauty of the institution.

This submission for the degree of Doctor of Philosophy at the Elder Conservatorium of Music, University of Adelaide, consists of a portfolio of original compositions supported by an exegesis. The materials are presented in three parts contained in two volumes; Part A in Volume One, and Parts B and C in Volume Two. Part A, the portfolio, contains the following five works: Moto Fuoco, a suite of four pieces for symphony orchestra; Requiem Lux Aeternam, four movements for chamber choir, strings, percussion and electronics; Love, Lust, Life and Loss: Choyce Madrigals on Intimately Procured Poetic Texts, a suite of four songs for a cappella vocal quartet; Five Characteristic Songs for Baritone and Guitar; and the Bonetti Motets Project, for a cappella chamber choir. Part B, the exegesis, explains the conceptual and aesthetic framework for the compositions, followed by chapters on the compositional methods and techniques adopted for individual works. Part C contains sound recordings of the works presented on two CDs. The aim of this project has been to appropriate a diverse range of styles and sounds as source materials that form part of the compositions. These source materials have originated from forms of contemporary popular music such as hip-hop and rap, jazz, drum and bass, electronic dance music, and heavy metal; as well as earlier styles of art music such as medieval plainsong, the Renaissance madrigal genre, and characteristics of Baroque and Renaissance style. As part of this process, it was important that these source materials were adapted to fit with stylistic conventions of the instrumental or vocal performance medium for which the compositions were written, yet still retain aspects of their aural and/or stylistic characteristics in this new context. This highlighted a creative and methodological tension that has been explored and resolved through the generation of the composition works.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2015

碩士
國立臺灣大學
電機工程學研究所
98
My research, thus far, consists of building two kinds of models of rigid-wall trumpets by the finite element method. My research demonstrates feasibility by solving the eigenfrequencies, the impulse response (or the transfer function) and the modulated input source that is supposed to be capable of reproducing a Viennese style trumpet sound via a regular piston trumpet. In addition, the objective of this research has been achieved to some extent such that future improvement is possible.

abstract: This research paper aims to understand Frank Martin’s Huit préludes pour le piano (1948) as a summary of his compositional styles, by demonstrating common elements between the preludes and Martin’s compositions of other genres. Swiss musician Frank Martin (1890-1974) composed in many genres, from theatrical and symphonic works to vocal, chamber, and solo works. Huit préludes pour le piano, his best-known piece for solo piano, merits more recognition in the modern repertoire than it currently receives, as it encompasses a wide range of pianistic techniques, colors, and atmospheres to challenge the mature pianist. This set of preludes represents Martin’s unique compositional sound and style, in which Martin retains a sense of tonal functions despite the intense chromaticism in his music. Featured elements in the Huit préludes include the use of the B-A-C-H motive and its alterations, chromatic yet triadic writing, gliding tonality, baroque elements, dodecaphony, stratification, extreme range and registral shifts, octave doublings and displacements, percussive rhythmic drive, large-scale crescendi, and hidden cyclicism. Martin also uses the 12-tone row as a chromatic tool, but rejects atonality and applies the concept without strict enforcement. Influences of music from past eras are evident in the Huit préludes through various compositional techniques and practices such as contrapuntal lines, chant-like declamatory melodies, imitation, toccata, and pedal-points. This research project explores these various techniques within and between the preludes and his works of other genres, and thus identifies the Huit préludes as a consolidation of Martin’s mature sound and style.
Dissertation/Thesis
Frank Martin, Prelude No. 1
Frank Martin, Prelude No. 2
Frank Martin, Prelude No. 3
Frank Martin, Prelude No. 4
Frank Martin, Prelude No. 5
Frank Martin, Prelude No. 6
Frank Martin, Prelude No. 7
Frank Martin, Prelude No. 8
Doctoral Dissertation Music 2017

Globalization, cultural flow, and crossfertilization are terms that now appear in many conversations, articles, and research studies. The contemporary world becomes more and more complex while the exchange of information, business development, media, and cultural events are promoted and welcomed. The models of response to globalization may vary between countries and their cultures. This study depicts the response of Moscow’s choral world to globalization. The choral art form is one of many layers of national identity that have been developing over centuries. Performance practices, choral vocal methodologies, and choral music education have undergone influences and changes and have continued their evolution into the 21st century. The purpose of this study was to explore, through in-depth interviews, Russian choral conductors’ perceptions and reflections on contemporary Russian choral sound and whether it has been affected by globalization in recent decades. Using grounded theory, I examined the impact of globalization on Russian choral culture, specifically focusing on the choral sound. Goodenough’s (1981) cultural theory served as the framework for this research, providing a strong understanding of what culture is and the methods of its transmission as well as the explanation of the role of individuals in a social process of constructing its evolution. The current relationship between traditional Russian choral pedagogy and performance practice and the innovations introduced by globalization demonstrates that the deeply-embedded traditions continue to be an important aspect of Russian choral culture. Nevertheless, lifelong informal learning in a global choral community was an impetus for the transformation of choral culture, choral performance, and choral music education.

碩士
國立臺南大學
音樂學系碩士在職專班
107
In the 1960’s, the idea of Minimalism rose in the United States, which utilizes as less elements as possible in the art field. Music that features this technique is identified as 「Minimal Music」or「Repetitive Music」. This thesis studies the origin of Minimalism and Minimal Music, as well as the composers’ lives and works related to this style. They are La Monte Young(1935-), Terry Riley (1935-), Stephen Reich( 1936-), Philip Glass (1937-), and John Adams (1947-). The Minimalism in the music of Philip Glass is focused in this study, taking 《Music in Contrary Motion, 1969》 and 《Music in Similar Motion, 1969》as examples. The rhythmic and melodic motives, formal structures, repetition patterns are explored in detail. An original composition,《The Sound of Rain, 2018》that also uses minimalism is then provided. Some conclusions of this thesis include: 1. Minimalism is to express the purity of human mind deep inside. 2. Minimal Music seeks for objective art. 3.《Music in Contrary Motion, 1969》 and 《Music in Similar Motion, 1969》represent the iconic compositions of Minimalism. 4. Philip Glass perceives Minimal Music as endless repetitions in「Open Form」. 5. Philip Glass perceives composers and performers are both participating the process of creating a composition, not just the composers. 6. An original composition,《The Sound of Rain, 2018》in Minimalism is provided for future reference.. Keywords: Minimalism, Minimal Music, 《Music in Contrary Motion》,《Music in Similar Motion》, 《The Sound of Rain》

Title page, table of contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library.
Thesis (M.Mus.) -- University of Adelaide, Elder School of Music, 2005

碩士
國立高雄第一科技大學
應用英語系口筆譯碩士班
103
This study aims at examining the translation of the speaking style of Jason Compson in Faulkner’s The Sound and the Fury from the relevance-theoretic perspective. As Irena Kazula (1979) points out, the feature of Jason’s speaking style is characterized by his use of substandard vulgar English. This study therefore compares the translations of Li Den-shin and Lee Wen-jun, two translators across the Taiwan Strait, and offers a retranslation based on the important concepts of Relevance Theory. After the analysis, the following three research questions will be answered: (1) How is Jason’s speaking style and image rendered in Li Den-hsin’s translation? (2) What is Lee Wen-jun’s approach? (3) Which version offers better contextual effects and saves readers’ effort to achieve better relevance with the target text? The results show that when representing Jason’s swearword in Chinese, Li tends to adopt literal translation. Even though his method preserves the explicature to achieve interpretive resemblance, his translation cannot provide sufficient contextual effect for readers to feel the vulgarness and evilness of Jason. Same strategy is adopted in the translation of Jason’s pet phrase so it is incapable of shaping Jason’s insolent image. As for Lee, when translating swearword, he has adopted the strategy of omission so his translation cannot achieve interpretive resemblance. However, when translating Jason’s pet phrase, he is not confined by literal translation as Li does; instead, he offers many different ways of rendering to provide various contextual effects for readers to feel the arrogance of Jason. Gutt (2000) suggests that with Relevance Theory in mind, translators need to identify the original intended interpretation before embarking on the work of translation. When translating, translators need to determine informative intention. After translation and during the process of proofreading, the expectation of the audiences cannot be overlooked. My retranslation adheres to the principle of Relevance Theory, focusing on Jason’s use of swearword and platitudes. It is hoped that with better interpretive resemblance and more appropriate contextual effect, readers can learn more about the most vicious character Faulkner has ever written.

This thesis investigates how musicians who play Irish traditional music, but do not identify themselves as Irish, understand their relationship to Irishness. The research was designed to interrogate frameworks for theorizing the articulation of music, identity and nation, emphasizing the need to understand both music and identity as socially constitutive processes. Writing from the viewpoint that knowledge is embedded in discourse, it argues that certain repertories and styles have been regards as symbolically representing and expressing essentially Irish characteristics mythologized within colonial discourse and inverted within nationalist discourse. These understandings have been extended into the present and reinforced through the commodification of Irish culture. Analyses of participant-observation data in Melbourne, Australia, indicate that young Australian musicians understand Irishness as a citational ethnicity, depoliticized and commodified, while older Australians value more highly the embodied musical performance of musicians from Ireland. Australian musicians who had made 'pilgrimage' to Ireland were relatively confined within a world of summer schools and pub sessions linked to the tourism industry's mythologizing of an 'Ireland of the Welcomes'. Extended fieldwork among Australians and other foreign musicians who had re-located to Ireland found current theorizations of musical community inadequate to account for difference and disharmony in group performances. Foreign musicians' failure to assimilate musically ans socially was attributed to their status as strangers, their tactics and their perception by Irish musicians. While there is no material barrier to foreigners playing Irish traditional music, an exploration of the relationship between music and place in the construction of Irish traditional music concluded that, even where musicians attempt to draw outsiders into this bounded area of Irish culture, the authenticating discourses that define it as essentially Irish impede their success.

Praca doktorska poświęcona jest typowi subiektywizacji filmowej, który został nazwany przez autora subiektywizacją stylistyczną zapośredniczoną. Autor stawia tezę, że istnieje transmedialna figura przedstawiania doświadczenia bohatera, która w literaturze realizuje się w postaci mowy pozornie zależnej, a w filmie w postaci subiektywizacji zapośredniczonej. Wyróżnione zostały dwa wyznaczniki tej figury – na tyle szczegółowe, by mogły uchwycić jej funkcję, i na tyle ogólne, by znalazły odpowiedniki w różnych mediach. Są to: 1) subiektywizacja przekazu na poziomie stylistycznym oraz 2) interferencja fokalizacji zewnętrznej i fokalizacji wewnętrznej. Analizując wybrane filmy, autor charakteryzuje zabiegi narracyjne, które są w pewien sposób analogiczne do literackiej mowy pozornie zależnej i pokazuje, w jaki sposób figura ta służy reprezentacji różnych obszarów ludzkiego doświadczenia. Pierwsza część pracy ma charakter przede wszystkim teoretyczny, lecz wzbogacana jest literackimi i filmowymi przykładami. W rozdziale pierwszym omówione zostały literaturoznawcze ujęcia mowy pozornie zależnej. Za badaczami takimi jak Walentin Wołoszynow i Paul Hernadi, autor przyjmuje, że w mowie pozornie zależnej dochodzi do nakładania się dwóch perspektyw –narratora oraz bohatera. Wbrew polskiej nazwie, technika ta służy jednak reprezentacji nie tylko języka bohatera, lecz także jego myśli oraz wrażeń. Właśnie dlatego bardzo poręcznym narzędziem do opisu mowy pozornie zależnej okazuje się kategoria fokalizacji, oznaczająca perspektywę, z jakiej ukazywany jest świat przedstawiony w utworze lub jego elementy. Scharakteryzowanie tej techniki literackiej przy pomocy fokalizacji pozwala na ujęcie jej jako figury transmedialnej. W rozdziale drugim autor przybliża kontekst filmowy: przedstawia historię subiektywizacji w kinie, referuje stan badań, omawia zagadnienie narracji i fokalizacji, a także poddaje krytyce dotychczasowe koncepcje filmowego odpowiednika mowy pozornie zależnej. Jako że pojęcie „filmowej mowy pozornie zależnej” jest oparte na metaforze i nieścisłe, w rozdziale trzecim wprowadzona zostaje nowa kategoria – subiektywizacja stylistyczna zapośredniczona. Aby odróżnić tę formę narracyjną od innych sposobów przybliżania perspektywy bohatera, autor wyróżnia trzy rodzaje fokalizacji wewnętrznej – narratywizację, personalizację i subiektywizację. W subiektywizacji zapośredniczonej sposób postrzegania rzeczywistości przez bohatera zostaje „oznaczony” na poziomie stylistycznym poprzez środki, takie jak: niestandardowe punkty widzenia kamery, oświetlenie, inscenizacja, kolory, montaż, czy dźwięk. Określenie „zapośredniczona” wskazuje na to, że narracja tego typu nie tworzy iluzji bezpośredniego dostępu do świata wewnętrznego bohaterów, lecz uwydatnia mediację pewnej „wyższej” instancji narracyjnej w przekazywaniu stanów wewnętrznych postaci. W przypadku subiektywizacji zapośredniczonej perspektywa wewnętrzna i perspektywa zewnętrzna nie tyle istnieją równolegle, ile nakładają się na siebie. Dalsza część pracy składa się z dogłębnych analiz i interpretacji pięciu dzieł filmowych. W każdym z badanych filmów przedmiotem reprezentacji jest inny rodzaj doświadczenia bohaterów. Autor bada filmowe reprezentacje nieuświadomionych pragnień i obsesji (Palacz zwłok Juraja Herza), procesów emocjonalnych i nastrojów (Konformista Bernarda Bertolucciego), doświadczenia społecznego (Tańczący jastrząb Grzegorza Królikiewicza), uwarunkowanego kulturowo sposobu postrzegania rzeczywistości (Urodzeni mordercy Olivera Stone’a) oraz cielesnych doznań postaci (Requiem dla snu Darrena Aronofsky’ego). Materiał filmowy zostały dobrany w ten sposób, aby pokazać, że subiektywizacja zapośredniczona może służyć uobecnianiu różnych doświadczeń. W każdym z analizowanych filmów narracja oddaje głęboko subiektywne odczucia postaci, a jednocześnie pozwala na zdystansowanie się do bohaterów, np. poprzez ironiczne wyolbrzymienie niektórych cech ich sposobu postrzegania świata. Subiektywizacja tego typu umożliwia przedstawienie sytuacji podmiotu rozdartego wewnętrznie, „rozszczepionego”, niebędącego panem samego siebie. Przeprowadzone analizy i interpretacje dowodzą, że można mówić o istnieniu transmedialnej figury tekstowej, która nie polega na bezpośrednim odzwierciedlaniu perspektywy bohatera, ale na interferencji fokalizacji wewnętrznej i fokalizacji zewnętrznej. Autor zwraca uwagę na analogie w strategiach tekstowych wykorzystywanych w różnych mediach, ale koncentruje się na tym, w jaki sposób wielosemiotyczne medium filmowe modeluje i przekształca tę figurę.
The doctoral thesis concentrates on a type of film subjectivization, which the author calls mediated stylistic subjectivization. The work argues that there is a transmedial figure of representing a character’s experiences, which appears in literature as free indirect speech while, in film, as mediated subjectivization. The text distinguishes two determinants of this figure, which are sufficiently detailed to capture its function and general enough to find equivalents in various media. First, the subjectivization of message at the stylistic level, and, second, the interference of external and internal focalization. Through the analysis and interpretation of selected films, the author frames the narrative treatments analogous to free indirect speech and reveals how this figure serves to represent various areas of human experience. The first, theoretical part of the work abounds with literary and film examples. The first chapter discusses literary approaches to free indirect speech. Following Valentin Voloshinov and Paul Hernadi, the author assumes that free indirect speech simultaneously activates two perspectives: of the narrator and the protagonist. Contrary to its name, this technique represents not only the language but also the thoughts and impressions of the character. That is why the best tool to examine free indirect speech is focalization, which means the perspective from which the fictional universe or its fragment appears. The description of free indirect speech with focalization enables its capturing as a transmedial figure. The second chapter introduces the context of film. It presents the history of subjectivization in the cinema, presents the state of research, discusses the issue of narration and focalization, and critically analyzes previous proposals for film equivalents of free indirect speech. As the concept of “cinematic free indirect speech” originates from a metaphor and is inaccurate, the third chapter introduces a new category, that of mediated stylistic subjectivization. To distinguish this form of narration from other means of approximating the character’s perspective, the author distinguishes three types of internal focalization: narrativization, personalization, and subjectivization. The mediated subjectivization “marks” the characters’ perception of reality, at the stylistic level, with untypical camera angles, lighting, staging, colors, editing, or sound. “Mediation” indicates that this type of narration does not create an illusion of a direct access to the inner world of the character, but foregrounds that a “higher” instance of narration transmits the internal states of the character. In the case of mediated subjectivization, the internal and external perspective do not exist in parallel but overlap. The second part of the work consists of critical analyzes and interpretations of five films. Each of the films represents different character’s experiences. The author examines cinematographic representations of unconscious desires and obsessions in The Cremator by Juraj Herz, emotional processes and moods in The Conformist by Bernardo Bertolucci, social experience in The Dancing Hawk by Grzegorz Królikiewicz, culturally-conditioned perception of reality in Natural Born Killers by Oliver Stone, and bodily sensations in Requiem for a Dream by Darren Aronofsky. This particular choice of works shows that mediated subjectivization may serve to represent various experiences. The narration in each of the films captures the deeply subjective feelings of the characters while simultaneously enabling the viewer to keep a distance from them; for instance, by ironically exaggerating some features of the characters’ perception of the world. Such subjectivization allows for the presentation of internally divided (split) subjects with little control of themselves. The analyses and interpretations prove the existence of the transmedial textual figure, which does not directly reflect the character’s perspective but employs the interference of internal and external focalization. The author emphasizes the analogies between textual strategies in various media but remains concentrated on how the polysemiotic medium of film models and transforms this transmedial figure.