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When you turn to look at an object, for example, you normally blink, thus creating a visual break in continuity between what you were looking at and what you are now looking at. Another possibility that Murch explores to explain humans’ innate acceptance of film cuts is the way in which we dream. Our dreams tend to jump around from place to ...
In narratology, focalisation is the perspective through which a narrative is presented, as opposed to an omniscient narrator. [1] Coined by French narrative theorist Gérard Genette, his definition distinguishes between internal focalisation (first-person) and external focalisation (third-person, fixed on the actions of and environments around a character), with zero focalisation representing ...
A 'turnaround' or 'turnaround deal' is occasionally used to describe an arrangement in the film industry whereby the production costs of a project that one studio has developed are declared a loss on the company's tax return, thereby preventing the studio from exploiting the property any further. The rights can then be sold to another studio in ...
Psychoanalytic film theory is a school of academic thought that evokes the concepts of psychoanalysts Sigmund Freud and Jacques Lacan. The theory is closely tied to Critical theory, Marxist film theory, and Apparatus theory. The theory is separated into two waves. The first wave occurred in the 1960s and 70s.
Don Quixote and his sidekick Sancho Panza, as illustrated by Gustave Doré: the characters' contrasting qualities [1] are reflected here even in their physical appearances. In any narrative, a foil is a character who contrasts with another character, typically, a character who contrasts with the protagonist, in order to better highlight or differentiate certain qualities of the protagonist.
Psychological drama, or psychodrama, [1] is a subgenre of drama and psychological fiction literatures that generally focuses upon the emotional, mental, and psychological development of the protagonists and other characters within the narrative, which is highlighted by the drama.
In any narrative, the focal character is the character on whom the audience is meant to place the majority of their interest and attention. They are almost always also the protagonist of the story; however, in cases where the "focal character" and "protagonist" are separate, the focal character's emotions and ambitions are not meant to be empathized with by the audience to as high an extent as ...
The mode of narration examines the reasons for the behaviours of the character, which propel the plot and explain the story. [1] Psychological realism is achieved with deep explorations and explanations of the mental states of the character's inner person, usually through narrative modes such as stream of consciousness and flashbacks .