Relevant bibliographies by topics / Self-reflexivity (film)

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  1. Journal articles

Academic literature on the topic 'Self-reflexivity (film)'

Author: Grafiati
Published: 4 June 2021
Last updated: 17 February 2022

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Journal articles on the topic "Self-reflexivity (film)"

1

Suh, Yong Chu. "Found Footage Film of Self-Reflexivity." Cartoon and Animation Studies 33 (December 31, 2013): 317–41. http://dx.doi.org/10.7230/koscas.2013.33.317.

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2

Tieber, Claus, and Christina Wintersteller. "Writing with Music: Self-Reflexivity in the Screenplays of Walter Reisch." Arts 9, no. 1 (2020): 13. http://dx.doi.org/10.3390/arts9010013.

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Self-reflexivity is a significant characteristic of Austro-German cinema during the early sound film period, particular in films that revolve around musical topics. Many examples of self-reflexive cinematic instances are connected to music in one way or another. The various ways in which music is integrated in films can produce instances of intertextuality, inter- and transmediality, and self-referentiality. However, instead of relying solely on the analysis of the films in order to interrogate the conception of such scenes, this article examines several screenplays. They include musical instr
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3

Walkur, Abby. "Three Cheers for the Essay Film: How Chris Marker’s Vive la baleine Epitomizes Timothy Corrigan’s Model." Film Matters 12, no. 1 (2021): 82–92. http://dx.doi.org/10.1386/fm_00132_1.

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Chris Marker’s Vive la baleine (1972) is widely hailed as a quintessential essay film. This article examines how the film adheres to essayistic characteristics using film scholar Timothy Corrigan’s definition of the essay film mode. In particular, the article highlights the film’s following traits: the three-pronged and gendered approach to narration, the intentional aesthetic and stylistic inconsistency, the underlying critique of the whaling industry, the explicit adoration expressed toward the whale, and the film’s self-reflexivity.
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Gürbüz, Temmuz Süreyya. "Punk aesthetics of Pedro Almodóvar’s Pepi, Luci, Bom: Self-reflexivity, subcultural formations and queer temporalities." Journal of European Popular Culture 11, no. 1 (2020): 37–51. http://dx.doi.org/10.1386/jepc_00011_1.

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Tracing the direct and indirect influences and cultural connections between earlier counter-cultures and avant-garde art has been a useful method to historicize the aesthetics that is created by subcultures. Drawing from this approach, this article seeks to contribute to the study of the aesthetics and counter-cultures via analysing a specific cinematic self-reflexivity that is born out of the interconnectedness of low-budget material conditions and the subcultural environments. The contention is that Pedro Almodóvar’s first feature film Pepi, Luci, Bom y otras chicas del montón (1980), embodi
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5

Holmes, Diana. "Dancing in the Dark: Immersion and Self-Reflexivity in Nancy Huston's Danse noire." Nottingham French Studies 57, no. 3 (2018): 298–310. http://dx.doi.org/10.3366/nfs.2018.0226.

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Nancy Huston's Danse noire (2014) is a formidably complex novel: multilingual, composed throughout of three connected but separately told stories, highly self-reflexive in its intra-diegetic presentation of the narrative as film scenario and its use of capoeira as framing device and analogy. Some critics and readers have found this intricate structure excessive and confusing. This article, on the other hand, situates the novel within Huston's distinctive project as a contemporary French novelist who is as committed to immersive story-telling as she is to self-aware celebration of narrative for
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6

Jahraus, Oliver. "Der fatale Blick in den Spiegel – Zum Zusammenhang von Medialität und Reflexivität." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft 55, no. 2 (2010): 87–99. http://dx.doi.org/10.28937/1000106170.

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Der Beitrag untersucht den Zusammenhang von Reflexivität und Medialität (das, was ein Medium zum Medium macht), indem er die Idee der Reflexion an den konkreten Formen von Spiegelungen in Literatur und Film wie zum Beispiel Doppelgänger oder Figurenspaltungen darstellt. Dabei zeigt sich, daß jedes Medium autoreflexiv verfasst ist und daß die Vorstellung von Subjektivität seit dem 18. Jahrhundert selbst auf diesem Zusammenspiel von Reflexivität und Medialität beruht. Das Subjekt gilt demnach als reflexiver Effekt der Medialität, wie es an einer Betrachtung von Foucaults berühmter Meninas-Interp
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7

Bene, Adrián. "Intermediality and Reflexivity in Andrzej Żuławski’s Fidelity." Acta Universitatis Sapientiae, Film and Media Studies 11, no. 1 (2015): 181–93. http://dx.doi.org/10.1515/ausfm-2015-0022.

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Abstract The paper focuses on a characteristic of Andrzej Zulawski’s aesthetics which has been ignored by most of the critics who emphasized the impact of surrealism and the taste for provocation in his cinema. Meanwhile, the œuvre’s French period is obviously characterized by self-reflexivity and media-reflexivity, autobiographical and literary background references. In these film dramas, the topic of love, beauty and artistic values are interconnected with a sophisticated narrative strategy using intermediality and intertextuality in a complex way. In Fidelity (La Fidelité, 2000), Żuławski p
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8

Chin, Su-Mee. "Jeon Woochi: The Taoist Wizard as a Film of Self‐Reflexivity : Focusing on the Media Reproduction." Cine forum 26 (April 30, 2017): 239. http://dx.doi.org/10.19119/cf.2017.04.26.239.

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9

Chen, Hazel Shu. "Acoustically Embodied." Prism 18, no. 1 (2021): 114–37. http://dx.doi.org/10.1215/25783491-8922217.

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Abstract In 1950s and early 1960s Hong Kong, radio permeated in everyday life as a major source of entertainment and information. It subsequently gave rise to a peculiar genre in Cantonese cinema, film adaptations of “airwave novels” (tiankong xiaoshuo dianying 天空小說電影), which flourished in Hong Kong and Southeast Asia. According to the records of the Hong Kong Film Archive, from 1949 to 1968 there were ninety-three film adaptations of radio novels and dramas. Besides drawing the historical contours of the radio-film network in the postwar colonial city, this article studies two exemplary radio
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10

Zitzelsberger, Florian. "The American Film Musical and the Place(less)ness of Entertainment: Cabaret’s “International Sensation” and American Identity in Crisis." Humanities 8, no. 2 (2019): 99. http://dx.doi.org/10.3390/h8020099.

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This article looks at cosmopolitanism in the American film musical through the lens of the genre’s self-reflexivity. By incorporating musical numbers into its narrative, the musical mirrors the entertainment industry mise en abyme, and establishes an intrinsic link to America through the act of (cultural) performance. Drawing on Mikhail Bakhtin’s notion of the chronotope and its recent application to the genre of the musical, I read the implicitly spatial backstage/stage duality overlaying narrative and number—the musical’s dual registers—as a means of challenging representations of Americanne
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