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Статті в журналах з теми "Crime Fiction Technique"
1
Pape, Toni. "Moving in stealth: On the tracking shot as a technique for imperceptibility." Critical Studies in Television: The International Journal of Television Studies 14, no. 1 (March 2019): 40–54. http://dx.doi.org/10.1177/1749602018816876.
Повний текст джерелаАнотація:
This article explores recent uses of the tracking shot in various media. Examples drawn from television, video games and video art reveal that recent audiovisual media have frequently used a particular kind of tracking shot that follows an individual through a complex environment. This article argues that this tracking shot contributes to an aesthetic of stealth, that is, a perceptual attunement to notions of imperceptibility and secrecy. The stealth tracking shot can thus be seen as one of the aesthetic principles that articulate discourses of securitisation. The argument proceeds in three steps. First, the article shows that this specific use of the tracking shot takes inspiration from third-person video games. An analysis of the stealth game Splinter Cell: Blacklist (2013) shows how the mobile ‘following camera’ allows the viewer to perceive the avatar in his or her environment. Then, in an analysis of the unbroken tracking shot in True Detective (2014), it is demonstrated how this kind of tracking shot contributes to a reformulation of the notions of law enforcement underlying crime fiction. Specifically, the tracking shot is related to the notion of stealth democracy. Finally, the article considers Hito Steyerl’s video ‘Guards’ to show that the aesthetic principles of stealth operate not only in individual media objects but more generally in public spaces and institutions such as museums and art galleries. To conclude, the article situates the stealth tracking shot in a more general consideration of the politicality of media aesthetics.
2
Achsani, Ferdian. "REALITAS SOSIAL MASYARAKAT PERKAMPUNGAN DALAM NASKAH DRAMA H.A.H KARYA PUTU WIJAYA." LEKSEMA: Jurnal Bahasa dan Sastra 4, no. 2 (December 31, 2019): 139. http://dx.doi.org/10.22515/ljbs.v4i2.1769.
Повний текст джерелаАнотація:
The drama script is a type of prose fiction literature that can not only be enjoyed through pen strokes from writers, but also aims to be performed on stage shows. In drama scripts, the topic or story that is displayed is inseparable from the life of society in general. Through the action of the cast of the cast, it is able to show that the story brought in the script seems to reflect the real life. This study aims to describe the form of reality of social life that occurs in the H.A.H drama by Putu Wijaya. This research is in the form of qualitative descriptive, with the method of analysis analysis through the sociological approach of literature. The source of the data in this study is citation text in the H.A.H drama script by Putu Wijaya, which reflects the reality of social life in the village community. Data collection techniques in this study are document techniques. While the data validity technique used in this study uses source triangulation. Triangulangi source is one of the validity test data that is suitable for use in this study. After analysis, the results of this study show that Putu Wijaya's H.A.H drama script reflects the social life of the community such as: moral degradation, cultural shifts, social conflict, crime. This is due to weak economic conditions, lack of understanding of religious teachings about faith, faith and piety, and lack of education.
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Khisamova, Zarina, and Ildar Begishev. "Criminal Liability and Artificial Intelligence: Theoretical and Applied Aspects." Russian Journal of Criminology 13, no. 4 (August 23, 2019): 564–74. http://dx.doi.org/10.17150/2500-4255.2019.13(4).564-574.
Повний текст джерелаАнотація:
The humanity is now at the threshold of a new era when a widening use of artificial intelligence (AI) will start a new industrial revolution. Its use inevitably leads to the problem of ethical choice, it gives rise to new legal issues that require urgent actions. The authors analyze the criminal law assessment of the actions of AI. Primarily, the still open issue of liability for the actions of AI that is capable of self-learning and makes a decision to act / not to act, which is qualified as a crime. As a result, there is a necessity to form a system of criminal law measures of counteracting crimes committed with the use of AI. It is shown that the application of AI could lead to four scenarios requiring criminal law regulation. It is stressed that there is a need for a clear, strict and effective definition of the ethical boundaries in the design, development, production, use and modification of AI. The authors argue that it should be recognized as a source of high risk. They specifically state that although the Criminal Code of the Russian Federation contains norms that determine liability for cybercrimes, it does not eliminate the possibility of prosecution for infringements committed with the use of AI under the general norms of punishment for various crimes. The authors also consider it possible to establish a system to standardize and certify the activities of designing AI and putting it into operation. Meanwhile, an autonomous AI that is capable of self-learning is considerably different from other phenomena and objects, and the situation with the liability of AI which independently decides to undertake an action qualified as a crime is much more complicated. The authors analyze the resolution of the European Parliament on the possibility of granting AI legal status and discuss its key principles and meaning. They pay special attention to the issue of recognizing AI as a legal personality. It is suggested that a legal fiction should be used as a technique, when a special legal personality of AI can be perceived as an unusual legal situation that is different from reality. It is believed that such a solution can eliminate a number of existing legal limitations which prevent active involvement of AI into the legal space.
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Alzouabi, Lina. "Social Environment and Crime in Dickens' Oliver Twist and Great Expectations." International Journal of Linguistics, Literature and Translation 4, no. 6 (June 30, 2021): 163–70. http://dx.doi.org/10.32996/ijllt.2021.4.6.19.
Повний текст джерелаАнотація:
This study reads Charles Dickens' Oliver Twist and Great Expectations as crime novels by applying Sutherland's theory of "differential association" which postulates that criminal behavior is learned rather than inherited, and it is learned through interaction with other people within intimate personal groups in which one learns techniques and acquires motives for committing crimes. In Oliver Twist, Oliver is portrayed as a victim of the corrupted social environment as well as Monks' conspiracy with Fagin to drag him down to the underworld.; he is raised as an orphan in a workhouse and subjected to mistreatment. Thus, he unknowingly indulges in Fagin's gang and learns the crime of pickpocketing, as all the members of the gang come from a poor background and are taught how to commit crimes within the gang, their intimate social group. Nancy's poverty also compels her to join the gang, which ultimately leads to her death, as criminality is not innate in her personality. Criminality in Oliver's character is not innate either, so he ends up leading a decent life in a healthier environment. Like Fagin, Compeyson in Great Expectations favors the violation of law and has others indulge in the criminal world, thereby exploiting Magwitch and Orlick who turn into criminals. By presenting criminal characters with various motives and from harsh backgrounds, Dickens' fiction suggests that crime behavior has nothing to do with heredity. Rather, criminal characters are implicated in crimes as a result of the corrupted social environment forced on them, along with gangs and corrupt people they have to encounter.
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Berberich, Christine. "Detecting the Past: Detective Novels, the Nazi Past, and Holocaust Impiety." Genealogy 3, no. 4 (December 7, 2019): 70. http://dx.doi.org/10.3390/genealogy3040070.
Повний текст джерелаАнотація:
Crime writing is not often associated with Holocaust representations, yet an emergent trend, especially in German literature, combines a general, popular interest in crime and detective fiction with historical writing about the Holocaust, or critically engages with the events of the Shoah. Particularly worthy of critical investigation are Bernhard Schlink’s series of detective novels focusing on private investigator Gerhard Selb, a man with a Nazi background now investigating other people’s Nazi pasts, and Ferdinand von Schirach’s The Collini Case (2011) which engages with the often inadequate response of the post-war justice system in Germany to Nazi crimes. In these novels, the detective turns historian in order to solve historic cases. Importantly, readers also follow in the detectives’ footsteps, piecing together a slowly emerging historical jigsaw in ways that compel them to question historical knowledge, history writing, processes of institutionalised commemoration and memory formation, all of which are key issues in Holocaust Studies. The aims of this paper are two-fold. Firstly, I will argue that the significance of this kind of fiction has been insufficiently recognised by critics, perhaps in part because of its connotations as popular fiction. Secondly, I will contend that these texts can be fruitfully analysed by situating them in relation to recent debates about pious and impious Holocaust writing as discussed by Gillian Rose and Matthew Boswell. As a result, these texts act as exemplars of Rose’s contention that impious Holocaust literature succeeds by using new techniques in order to shatter the emotional detachment that has resulted from the use of clichés and familiar tropes in traditional pious accounts; and by placing detectives and readers in a position of moral ambivalence that complicates their understanding of the past on the one hand, and their own moral position on the other.
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Sampytho, Gilang Rizky, Tutik Sulistyowati, and Muhammad Hayat. "Sistem Mafia Aplikasi Online Grab di Era Digitalisasi." Al-Mada: Jurnal Agama, Sosial, dan Budaya 4, no. 1 (January 12, 2021): 40–63. http://dx.doi.org/10.31538/almada.v4i1.837.
Повний текст джерелаАнотація:
The development of technology will be followed by the development of crime, one of which is the Grab online application mafia in the form of a fictional restaurant. Humans become objects so it must also be analyzed that the mafia experiences control by technology, it is an important subject when analyzing using the Herbert Mercuse theory. digitization. The research method used is qualitative, with a descriptive type of research. Descriptive is a type of qualitative research that describes problems that exist in society. The technique of determining the subject using purposive sampling. The analysis in this study uses Herbert Marcuse's theory of one dimension man and technological rationality. The findings of this study are the existence of a fictional restaurant by applying the mafia work system to take Grab promos with a crime system in the digitalization world. A fictional restaurant is a crime because stealing a Grab promo that is not carried out based on the system recommended by Grab. In fact, a fictitious order can be a profitable business between 3 parties. A number of drivers admit that the practice of fictitious orders is often deliberately carried out by the restaurant. According to them, Grab is not disadvantaged because the restaurant still does not pay taxes and sales traffic is high. Suggestions for the next writer related to this research are to focus on Grab bike drivers who often receive fictitious orders both in terms of receiving passenger orders, express and food delivery.
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Carvalho, Tiago Jose de, Helio Pedrini, and Anderson De Rezende Rocha. "Visual Computing and Machine Learning Techniques for Digital Forensics." Revista de Informática Teórica e Aplicada 22, no. 1 (May 18, 2015): 128. http://dx.doi.org/10.22456/2175-2745.49492.
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It is impressive how fast science has improved day by day in so many different fields. In special, technology advances are shocking so many people bringing to their reality facts that previously were beyond their imagination. Inspired by methods earlier presented in scientific fiction shows, the computer science community has created a new research area named Digital Forensics, which aims at developing and deploying methods for fighting against digital crimes such as digital image forgery.This work presents some of the main concepts associated with Digital Forensics and, complementarily, presents some recent and powerful techniques relying on Computer Graphics, Image Processing, Computer Vision and Machine Learning concepts for detecting forgeries in photographs. Some topics addressed in this work include: sourceattribution, spoofing detection, pornography detection, multimedia phylogeny, and forgery detection. Finally, this work highlights the challenges and open problems in Digital Image Forensics to provide the readers with the myriad opportunities available for research.
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Nayebpour, Karam. "Narrativity in The Thousand and One Nights." Advances in Language and Literary Studies 8, no. 4 (August 31, 2017): 85. http://dx.doi.org/10.7575/aiac.alls.v.8n.4p.85.
Повний текст джерелаАнотація:
Scheherazade’s art of storytelling is the main vehicle for the fictional worldmaking in The Thousand and One Nights. The overall structure of the folktale narrative depends on the tales she recounts to King Shahriyar, and it is through these tales that she finally is able to change his mind. The richness of the narrative qualities, properties, and techniques in The Thousand and One Nights has attracted narrative scholars and narratologists for a long time. Besides applying the frame narrative as a basic narrative technique for storytelling practices, Scheherazade’s tales include many other narrative aspects, including narrativity-affecting features. Narrativity generally refers to the qualities and features that cause a narrative to be accepted or evaluated as a (prototype) narrative. This paper argues that Scheherazade’s first tale for the king Shahryar, “The Tale of the Merchant and the Ifrit,” includes some narrativity-affecting features which have the potential to inspire its narratee’s, Shahryar’s, emotional and cognitive responses, and hence facilitate his transportation into the storyworld. By capturing his interest with her art of storytelling, Scheherazade is able to avert the king’s heinous crime against herself.
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Herzog, Todd. "Crime Stories: Criminal, Society, and the Modernist Case History." Representations 80, no. 1 (2002): 34–61. http://dx.doi.org/10.1525/rep.2002.80.1.34.
Повний текст джерелаАнотація:
THIS ARTICLE EXAMINES the role that the case history plays in distinguishing criminal from noncriminal. It focuses on a remarkable moment in the development of the criminal case history: the ambitious but short-lived series Außßenseiter der Gesellschaft——die Verbrechen der Gegenwart (Outsiders of Society——the Crimes of Today), published in Germany in 1924-25. In a project without precedent in German literature, the series enlisted the talents of some of Germany's and Austria's most important novelists and journalists to write book-length studies of recent sensational criminal cases. The topics covered in the series ranged widely,from the confidence schemes of the impostor who called himself Freiherr von Egloffstein, to the Hitler-Ludendorff trial, to the career of the serial killer Fritz Haarmann. Though it existed for only a little over one year, the Outsiders series——which ultimately ran to fourteen volumes——occupies a crucial role in documenting the ways in which criminality was understood in Weimar Germany. Aside from the presence of an all-star cast of writers, the significance of the Outsiders series lies in its rethinking and reworking the aims and possibilities of the genre of the criminal case history. The series sought to intervene in the tradition of crime narratives (especially the case study as exemplified in the Pitaval, the archive of criminal cases that enjoyed widespread popularity in Europe from the eighteenth to the early twentieth century) in order to question the nature and effects of the genre. If narrative is one of the primary techniques by which the criminal and the noncriminal are distinguished, then the crisis of narration that is a central characteristic of modernist literature would naturally precipitate a crisis of this mechanism of distinction when brought to bear on the discussion of criminals. When the belief in the ability to narrate a life story comes into doubt, the belief in the ability of a narrative to separate criminal from noncriminal and to reconstruct the events that lead to a crime also fall under suspicion. Turning their attention precisely to the relationship that Michel Foucault would later concentrate on——that between the criminal and his examiners——these studies repeatedly show the criminal to be the object of juridical, medical, journalistic, popular, and literary attention. The diverse group of contributors to the series reflects the hybrid nature of this crossover project, which brings a combination of reportage, fictional techniques, and scientific analysis to bear on an area that is usually the domain of legal and medical specialists. At the same time, the series incorporates medical texts and trial documents into what often reads like a fictional narrative. This multivalence is precisely what the series aims to attain as it demonstrates the impossibility of clearly locating causality and guilt, seeking instead to map the connections and contradictions between the various discourses that endeavor to make the criminal visible as a distinct and deviant individual. In so doing, it develops a genre that would become increasingly popular over the course of the twentieth century,the nonfiction documentary crime novel.
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Semenova, Oksana. "National Cinematography as a Response to Russian Information Aggression (A Case Study of Historical and Patriotic Films)." Ukrainian Studies, no. 2(79) (August 3, 2021): 30–49. http://dx.doi.org/10.30840/2413-7065.2(79).2021.234951.
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The article reveals the influence of Russian information propaganda on cultural industries of Ukraine, in particular film making, and describes place and role of contemporary Ukrainian cinematography as a “soft power” in counteracting humanitarian expansion of the Russian Federation, as a factor having an influence on mass consciousness and social attitudes of Ukrainians, as means of counter-propaganda and construction of all-Ukrainian identity and formation of consolidated political nation as a whole. The author has studied the state of national cinematography during 2014–2021, analyzed the reasons which hindered its development and described public and state legislative initiatives directed at support and development of cinematography. The most popular Ukrainian historical and patriotic fiction and documentary films are examined and their role in counteracting Russia’s propaganda is defined.The article contains analysis of anti-Ukrainian films produced in the Russian Federation, annexed Crimea, and quasi-states "Donetsk People’s Republic" and "Luhansk People’s Republic"; reveals essential features of its information and psychological impact; defines manipulative techniques and methods. On the basis of analysis of Russian propaganda films, the author made a conclusion about portraying a negative image of Ukraine and broad usage of messages about the “unconstitutional coups d'etat”, “Kyiv regime” that fights against population of Donbas. We may see such negative narratives as: Ukrainians are “junta”, “fascists”, “Banderites”, “hardcore nationalists”, who fight against “common people” and “miners”. Russian propaganda concerning Crimea includes, first of all, creation of illusory picture which justifies Russia’s annexation of Crimea before the world, with meaning that this process was “inevitable” and “historically justified”.Ukrainian cinematography is considered as efficient means of opposing Russian information aggression, formation of patriotic feelings of Ukrainian people, and their aspiration for historical truth and justice. State system policy on counteracting propaganda has caused a powerful development of national cinematography, which pays considerable attention to making and promoting historical and patriotic fiction and documentary films.
Дисертації з теми "Crime Fiction Technique"
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Robb, Simon. "Fictocritical sentences." 2001, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phr631.pdf.
Повний текст джерелаАнотація:
Includes bibliographical references (leaves 166-168). CD-ROMs comprise: Appendix A. Family values: fictocritical sentences -- appendix C. Reforming the boy: fictocritical sentences Primarily enacts a fictocritical mapping of local cultural events essentially concerned with crime and trauma in Adelaide. The fictocritical treatment of these events simulates their unresolved or traumatised condition. A secondary concern is the relationship between electronic writing (hypertext) and fictocriticism.
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Jiang, Yan-Lin, and 江彥琳. "Narrative Technique in Crime Fiction: Examples from Dürrenmatt's "The Judge and His Hangman" and "Suspicion"." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/81741717068166899324.
Повний текст джерелаАнотація:
碩士輔仁大學
德國語文學系
99
Together with Max Frisch, the writer Friedrich Dürrenmatt (1921-1990), who wrote numerous works, is regarded as one of the most important and outstanding Swiss authors in the twentieth century. He is not only well-known as dramatist, but also as narrator and crime author. Before he triumphed with dramas, he had already arrived at the first success with his first novel “The Judge and His Hangman” (1950/51) and its sequel “Suspicion” (1951/52), in which the detective figure Inspector Bärlach is focused as the main character. On one hand, Dürrenmatt follows the tradition of detective fiction in both novels; on the other hand, he tries to deconstruct the traditional detective figure and to break the rules of classical detective fiction and its typical pattern gradually. The first chapter explains the motivation of writing and the structure of this thesis. The second chapter represents a short introduction of the author Dürrenmatt and his main works. The third chapter states an overview of researches on the novels “The Judge and His Hangman” and “Suspicion”. Afterwards, the fourth chapter probes the concept of crime fiction and its sub-genre, detective fiction, and shows a short presentation of their development from the middle of nineteenth century to the middle of twentieth century. According to the definition and the analysis of crime fiction and classical detective novels, the type of the two above-mentioned novels will be discussed. The fifth and sixth chapters are the main parts of the thesis, in which the novels “The Judge and His Hangman” and “Suspicion” are explored in detail: their structure and the main characters will be analyzed and interpreted systematically and thoroughly. Finally, the seventh chapter represents the conclusion of this thesis. With the novels “The Judge and His Hangman” and “Suspicion”, Dürrenmatt not only successes to subvert the traditional pattern of detective fiction, but also tries to convey different themes, such as law and justice, within the framework of trivial literature in a light, interesting but artistic way, in order to reflect and criticize the situation of society. This could explain why Dürrenmatt is as crime author so popular, and why his detective fictions are still read and researched by many people until today.
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Wan, Tze-yin, and 萬姿吟. "Analysis of Seicho Matsumoto''s Writing Techniques for Crime Fiction: Early Works." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/93333039866198045980.
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碩士國立高雄第一科技大學
應用日語所
95
Before the Second World War, Japanese crime fiction was considered as a genre of fiction that was popular, exaggerated and playful. Seicho Matsumoto, however, was an unconventional writer with distinct techniques which made his crime fiction more realistic and refined than others. Therefore, “Seicho’s Revolution” is well known in Japanese literature. The term “revolution” indicates that Seicho Matsumoto thoroughly reformed Japanese crime fiction. Since the publication of his first crime fiction Points and Lines in 1958, Seicho Matsumoto has created a new trend in Japanese crime fiction, “crime fiction with a social consciousness”. The study begins with a literature review of the history of Japanese crime fiction as well as the emergence and features of crime fiction exhibiting a social consciousness. Next, two masterpieces of Seicho Matsumoto’s early works, Points and Lines and Vessel of Sand, are examined, to discover his unique writing techniques, such as putting the emphasis on the motives behind the crimes and also bringing social issues into the stories.
Книги з теми "Crime Fiction Technique"
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K, Kamerman Sylvia, ed. Writing mystery and crime fiction. Boston: The Writer, 1985.
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2
Keating, H. R. F. Writing crime fiction. London: A & C Black, 1986.
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3
Keating, H. R. F. Writing crime fiction. New York: St. Martin's Press, 1987.
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4
James, P. D. Talking about detective fiction. New York: Alfred A. Knopf, 2009.
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5
D, James P. Talking about detective fiction. New York: Alfred A. Knopf, 2009.
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D, James P. Talking About Detective Fiction. New York: Knopf Doubleday Publishing Group, 2009.
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Tadié, Benoît. Le polar américain, la modernité et le mal: 1920-1960. Paris: Presses universitaires de France, 2006.
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Le polar américain, la modernité et le mal: 1920-1960. Paris: Presses universitaires de France, 2006.
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Writing crime fiction. 2014.
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10
Laurence, Janet. Writing Crime Fiction. GLMP Limited, 2011.
Знайти повний текст джерелаЧастини книг з теми "Crime Fiction Technique"
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Johnson, Rebecca C. "Introduction." In Stranger Fictions, 1–24. Cornell University Press, 2021. http://dx.doi.org/10.7591/cornell/9781501753060.003.0001.
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This chapter discusses the history of translations in Arabic literature. The book begins with the first translations performed by Lebanese and Egyptian translators under the auspices of British missionary societies in Malta in the 1830s and ends in the first decade of the twentieth century with the translations of British and French sentimental and crime novels published in Cairo. Each connects the purportedly marginal enterprise of translating foreign fiction, performed by well-known and forgotten translators, to the concerns of canonical nahḍa thinkers and the literary and cultural debates in which they participated. These authors developed translation techniques and writing styles that cultivated a new mode of reading that the book calls reading in translation, which required the reader to move comparatively within and among languages and with the awareness of the diverging interpretive frameworks that animated the investments of multiple audiences. Far from being mere bad translators, these authors appear as translation theorists and informed commentators on literary history. Presenting their own work as occurring within an ongoing history of translation rather than deviating from it, these translators contend that the Arabic novel takes translation and cultural transfer as its foundation, as does the European novel. This book takes the implications of these translators' claims seriously, counterpoising them to standard accounts of the novel's supposed travels in translation.
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Zarri, Gian Piero. "Conceptual Tools for Dealing with ‘Narrative' Terrorism Information." In Handbook of Research on Computational Forensics, Digital Crime, and Investigation, 447–69. IGI Global, 2010. http://dx.doi.org/10.4018/978-1-60566-836-9.ch019.
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In this paper, we evoke first the ubiquity and the importance of the so-called ‘non-fictional narrative’ information, with a particular emphasis on the terrorism- and crime-related data. We show that the usual knowledge representation and ‘ontological’ techniques have difficulties in finding complete solutions for representing and using this type of information. We supply then some details about NKRL, a representation and inferencing environment especially created for an ‘intelligent’ exploitation of narrative information. This description will be integrated with concrete examples to illustrate the use of this conceptual tool in a terrorism context.