Download Cohesion in Film: Tracking Film Elements by Chiao-I Tseng (auth.) PDF

By Chiao-I Tseng (auth.)

This publication provides a brand new method of movie research. It presents tools for analysing that means making in movie via monitoring concrete information of movie photographs similar to characters, gadgets, settings and personality motion. It additionally represents new flooring for investigating empirical concerns in film.

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Extra resources for Cohesion in Film: Tracking Film Elements

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5 Function in the SFL and the Bordwellian approaches The Neo-Formalist film theorists David Bordwell and Kristin Thompson (cf. Bordwell, 1985; Thompson, 1988; Bordwell, 2007) revived a functional approach to filmic meaning after the Russian Formalists (cf. Tynjanov, 1971; Eagle, 1981). In Thompson’s words: The Application of Functional Linguistics to Film 25 Devices perform functions in artworks, but the work must also provide some reason for including the device to begin with. The reason the work suggests for the presence of any given device is its motivation.

According to Martin, ‘Bridging depends on experiential connections between presuming and presumed which facilitate the recovery of an implied identity’ (Martin, 1992, p124). The implicational relations between the presuming and the presumed items are based on the relevant categories taken from lexical cohesion, that is, the relations of synonymy, hyponymy, meronymy (cf. Halliday and Hasan, 1985). The identities of reference items are not always retrieved within the text itself, however. For example, when one hears someone in the same room say Can you help me with this?

Two further choices can be distinguished here – presenting participants in a gradual process can be realised either in a dynamic or in a static way. Dynamically, a participant can be gradually presented Cohesion in Film 49 through some strategies such as gradually enlarging the size of a participant in the film image or enhancing the volume of sound/music. For instance, participants that are realised in the soundtrack by sound or music motifs can be presented gradually with crescendo. That is, they can be presented as a background sound at the outset and then gradually ‘upgraded’ to the foreground through the manipulation of their volume.

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