Film Language

There are over 50 film versions of Hamlet. This article looks at how four directors use film language to depict the words of Hamlet's soliloquy ( "To be or not to be")  and examines how production design, props, costume, camera movements and editing are used to create different meanings though the text is unchanged.

Graphic design and cinema have worked together since the early days of filmmaking, driven by the effort to develop autonomous visual narratives in silent films, in much through the use of intertitles. It is meaningful to recognize how graphic design elements have invariably been a part of cinema’s hybrid language, as a material of expression manifested through the visual channel together with the filmed image. The different technological milestones that shaped cinema’s development also directly influenced the use of graphic language in movies, which became more complex with time. These graphic elements are present throughout an entire film narrative, from the choice of verbal, pictorial and schematic elements in titles and animations, to the creation (and curation) of printed or handmade graphic props, signage and logos filmed by the camera. Together, they form a movie’s graphic identity, which helps to convey meaning to the narrative as well as to bring a more dynamic and authentic storytelling. Through a case study of Hollywood’s 2013 movie adaptation of the literary masterpiece The Great Gatsby, this paper intends on exemplifying the strategic use of graphic design elements throughout the movie – in the physical and virtual formal natures – aiding in the construction of characters’ identities, contextualized into the roaring 1920’s aesthetics, as well as defining a clear visual style that is consistent with director Baz Luhrmann’s unique vision for the movie. In this way, the objective is to bring awareness to the potential of graphic design in building cinematic worlds that are historically accurate, aesthetically rich, and emotionally identifiable.

The introduction of Nature of Science in Science Education has been a goal for educators. In this proposal, it is presented an analysis of how film language can be used to discuss Nature of Science. The costumes and colors in the movie Gattaca, released in 1997, are good examples of the view of Science that the film-makers want to show to the audience. In the movie, Science becomes a way to divide people in two categories: valid and invalid. The costumes and colors used in the movie contribute to enhance this division and create a singular and prejudiced society. If introduced in classrooms situations, this proposal can be an alternative and productive way to use popular films to discuss other aspects of Science, besides scientific error and scientific concepts.

There is fundamentally more to Baul spirituality and scripture than merely the music and lyrics that one comes by, and conceivably nobody can ‘delve deep’ into the music form without having some basic understanding and concepts about its tottyo. This book
is an attempt to understand and explain the intricacies of the Baul scriptures. The esoteric couplets, sentences and arguments that usually have moral or historical over tone, the pointed reminders, the signature lines, and the over all thrust of arguments within a very short periphery of time, the alankar (embellishments), all mesh in and combine to create a completed aura of ethereal munificence. Baul music with exceptions follows different traditions and Guru’s in every district of Bangladesh, and sometimes each has its own unique Guru Shishya parampara (student/teachers discourses), leading on to birth of newer, progressive and more challenging schools of thoughts.

While Fakir Lalon Shah is the most celebrated of sages of Bangladesh, the schools of Baul thought encapsulates perhaps several hundred more sages and men of great wisdom, whose writings and philosophies continue to inspire and whose graves
more often than not, take on the shape of shrines, usually devoid of any religious or sectarian symbolism. Being an oral tradition Baul music ironically is also one of our near extinct heritages as most of the works have either disappeared or have been claimed by
unscrupulous people over time. Studies on authorship of many Baul songs (including those of Lalon) and their relevance to original scores and or manuscripts remains a very complicated process and is mired by many unfortunate controversies. To top it off, it is believed that while there were over 300 different types of Baul melodies or tunes; today we are left with scarcely 35. While researching the Bauliana album, I could identify only 20 authentic tunes.

The essays ‘Bauliana: Worshipping the Great God in Man’ in 2003 were written through a feeling of guilt and remorse. While I did receive praise for my work for the musical album of 1996, troubling me intently was a feeling of not been able to share the many
words of wisdom that were imparted to me by the Baul’s over the years to a wider audience, teachings I was sure would benefit a lot of later day enthusiasts. I had made scores of notes at the time, as also consigned most of the teachings to memory but there was always a deep apprehension, that unless my writings were passed on hand to
hand; all the hard work that went into it, will fail my original intention i.e. opening newer dimensions into reading on Baul music, lyrics, philosophy and way of life.

The social, academic and intellectual construct given to the Baul  movement ofBengal for centuries have been attempts by the elite status quo to box-in the music, lifestyle and philosophy of Fakirs, Sadhus and Sages of our time, thereby limiting them to easily explainable parameters and expected norms, practices of spirituality.

Baul philosophy is however unique in that it challenges these constructs in the epochal tangents setting it apart from other ‘religions’ or beliefs. Our dominant heritage culture, especially those practised by the marginalised majority, the construed ‘subalterns’ has therefore traditionally been in conflict and at odds with the city centers The objective of this essay is to give readers a concise yet coherent understanding to the basis of the Baul creed, its history, philosophy, complex spirituality and lofty ideals. It also aims to present us an opportunity to appreciate why the teachings of Fakir Lalon Shah has become so pertinent in present day Bangladesh which is beset with sectarian strife of an unimaginable magnitude, and perhaps lessons we may inculcate to the way forward..

Département de littérature, théâtre et cinéma Professeur : Jean-Pierre Sirois-Trahan Faculté des lettres et des sciences humaines Session : automne 2024 CIN-1000-Introduction au langage cinématographique Horaire : Mercredi, 12h30-15h20 Modalité : En présence, avec certaines séances sur Zoom si besoin Portail Zoom : https://ulaval.zoom.us/ Bureau : CSL-3447(rendez-vous par courriel). Ne pas laisser de message sur mon répondeur.

The word film itself is simply magical; it is a form of art which touches every kind senses which an individual posses. The essence of films has been memorizing the human kind ever since its origin. The film industry, like so many other things, has been pioneered in the United States at the end of the 19th century and beginning of the 20th Century. After the basic moving picture technology has been invented, the struggle to develop a first commercially feasible technology in the film industry began: "In the early American film industry, this entrepreneurial period begins in 1894 with Edison"s commercialization of the peephole kinetoscope. It ends sometime in the 1920s with the creation of the [film] studios" (Mezias and Kuperman, 2000, pp214-215).

Dialect, along with being systematically exploited in the national films and, since the 1970s, also in dubbed foreign ones, has arrived to  animated films, where it can fulfil three different functions: imitative function, when the dialect replaces another variety, used in the original
version; creative function, when it appears even though the original character does not use any diatopic variety; and connotative one, when we deal with the reconstruction of the character through the language. In this case dialect connotes stereotypical qualities which attribute some kind of new identity to the hero.

Un abîme sépare l’hyper-complexité technique, rhétorique et logistique de l'audio-visuel et la quasi-automaticité de son décodage. Ce qui conduit souvent a confondre l'outil et le langage : chacun veut être cinéaste, mais personne ne sait exactement en quoi cela consiste, et encore moins comment concevoir un film...
Pour donner de la consistance à ce rêve, beaucoup se tournent vers scénario. Mais celui-ci, encore très proche de la pièce de théâtre, ne propose qu'un usage restreint des multiples outils qu'offre le cinéma.
Jaco Van Dormael (et bien d'autres) se sent d'ailleurs à l'étroit dans le costume étriqué du scénariste homme de lettres. Ainsi, quand il a terminé le scénario de Toto le Héros, s'est-il vu opposer refus sur
refus à ses demandes de financement... pour ensuite recevoir, une fois le film terminé, le prix du meilleur scénario européen. Son script, écrit par obligation à la manière d'une pièce, ne reflétait en rien
son idée de film, et encore moins son film.
Cette anecdote illustre assez bien l'antagonisme entre film novateur, très difficile à décrire verbalement, et cinéma théâtral, quant à lui descriptible verbalement, hélas...
Prenant acte de cette antagonisme, nous en avons développé toutes les conséquences, en établissant les linéaments d'un possible « système de représentation du film », beaucoup plus à l'écoute des besoins
des cinéastes en général, et de ceux que nous aimons en particulier.
Nous appuyant sur l'analyse de films novateurs, mais aussi sur la phénoménologie et l'herméneutique, nous avons établi un modèle visuel (« une image », aurait dit Wittgenstein) dont on pourra tirer
aisément un super-système de notation filmique, appelé à remplacer l'antique modèle Cole & Haage, inchangé depuis les années trente.
Transmutation de l'image-mouvement en image-temps, ce modèle est à la fois abstrait et concret, exhaustif et conjectural. Il est abstrait, parce que seul un esprit très synthétique peut résumer un quelques mots un ensemble complexe d'images et de sons. Mais aussi concret, parce qu'il y a isomorphie entre le modèle et ce qu'il décrit (le film existant, ou le film à faire). D'autre part, il est exhaustif, parce qu'il rend compte de l'activité totale projection-interprétation-anticipation, et enfin
conjectural, parce qu'il permet de figurer quelle direction, à tel moment, pourrait être donnée au récit, étant donné ce que l'on en sait.
Comme tout système de notation, il est en effet réversible : il sert à décrire, mais aussi à écrire.
Enfin, c'est un outil heuristique. Mais ce n'est pas à la vérité du cinéma qu'il peut nous conduire : c'est à son émancipation.
Le cinéaste-poète, coulant opsignes et sonsignes dans les moules formels qu'il s'est choisi, et qui sont intégrés au script nouvelle manière, crée des récits « sans histoires », sans tension dramatique, et donc
sans dramaturgie. Et cependant, le public ne les boude pas, bien au contraire : il arrive qu'il leur fasse une fête (voir le succès du tout nouveau testament).
En donnant à la forme l'importance qu'elle mérite, en faisant entrer la poésie dans les salles de cinéma, nos nouveaux auteurs se concilient un public lassé de la vraisemblance formatée et bavarde du cinéma
mainstream (de son empathie toujours convenue, de ses péripéties prévisibles).
Mais on ne peut faire une cuisine nouvelle dans de vieilles casseroles : le film-poème, pas plus que son équivalent littéraire, ne peut se résumer ou s'écrire verbalement sans subir, on l'a vu, un appauvrissement radical.
L'adoption d'une méthode d'écriture scénaristique renouvelée, comme on l'a vu en germe dans cet essai, permettra de rapprocher la scénarisation de l'écriture musicale, qui intègre toutes les dimensions de la future performance, et permet dès lors d'éviter de cruelles et coûteuses déceptions . Jean-Claude Carrière dit du scénario qu'il « finira dans une poubelle ». Ce n'est certainement pas le cas de la partition.
Notre méthode d'analyse et création a en effet pour particularité de rendre manifeste tous les niveaux et les formes de narration interagissant à chaque instant lors de la projection d'un film. Elle implique que
soient pris en compte tous les aspects du film, et non les seules performances des acteurs. Plutôt que cohérent, ce cinéma est total : tout peut être filmé, tout peut faire sens, et non le seul zoon logon
echon. Laissons l'anthropocentrisme à la télévision.
Nous espérons donc que cet essai permettra de vulgariser une méthode originale, qui ouvre un champ de possibles infini. Car, aujourd'hui, ce ne sont plus les outils de création qui manquent. Au contraire, ils sont nombreux, efficients et peu coûteux. Ce qui manque, c'est une réponse à cette question : quels films voulons-nous faire, et comment les écrire?

This article covers the issue of foreign languages interrelation of " The Da Vinci Code " (2003) novel by Dan Brown and the screen version (2006) by Ron Howard, their functions, usage and screen representation peculiarities. Audio cinema narration is researched in the context of multilingualism , due to its importance as one of the most significant components for postmodern poetics of the game-novel, representing abstracts and remarks in French, Spanish and Latin on the main English language sounding background in the original. The most interesting feature of the novel audio code is its diverse multilingual structure. This work presents the result of comparative -contrastive analysis of the novel and the movie for the first time. The article covers the sounding text realization issue in the literary work, language collaboration functions and the screen representation strategies.

More and more, the discourse of as a vehicle through which messages are communicated in film
is taking centre stage. Its use necessitates an understanding not only of the vocabulary, but also of the content.
Cameroon filmmakers exploit language to expound and portray how the society is still constantly faced with the
problem of power manifestation and most especially, the marginalisation of women. Limits are set as to where
and what a woman can say in the presence of men. Considered a cultural marginalization, a woman’s words
are not to be heard in public spaces where men are. As such, language in traditional settings, sets limitations
for the woman in almost all aspects of life. Through a semiotic reading of Victor Viyouh’s Ninah’s Dowry and
circumscribed by feminist criticism, this paper attempts to portray the role of the sign in promoting male
domination in Cameroon. The woman is constructed by words and images as the weaker sex and subjected to
the men.

In 2019, decades after the earliest experiments with DH methodologies, scholars hoping to apply DH approaches to the study of audiovisual media continue to find themselves at somewhat of a disadvantage relative to colleagues working with text-based media. Impediments to computationally-assisted analysis of moving images have been well documented and are both technological and legal in nature. In recent years, projects like Dartmouth’s Media Ecology Project and the University of Richmond’s Distant Viewing Lab, among others, have lowered technological barriers by making inroads into moving image annotation and the application of computer vision to moving image analysis. In 2018, the Library of Congress lowered legal barriers in the United States with the most recent round of exemptions to the DMCA, granting increased freedom to excerpt short portions of films, television shows, and videos for the purposes of criticism or comment and thereby removing a hurdle to DH-inflected forms of moving image analysis such as videographic criticism. Despite the advances described above, film and media studies scholars are still unable to analyze the moving images digitally that are the subject of their research with anywhere near the ease of DH practitioners working with text or other forms of data.
One illustration of this predicament is the ongoing lack of a database dedicated to something as seemingly straightforward as the analysis of film language. As Lucy Fischer and Patrice Petro lamented in their introduction to the 2012 MLA anthology Teaching Film, “the scholar of literature can do a keyword search for all the occasions that William Shakespeare or Johann Goethe has used a particular word, [but] no such database exists for the long shot in Orson Welles or the tracking shot in Max Ophüls” (6). In response to the improvements to moving image access described above, the authors of this case study set out to develop Kinolab, an academically crowdsourced platform for the digital analysis of film language in narrative film and media (kinolab.org). This essay describes the opportunities and challenges that the project has encountered in our efforts to create, manage, and annotate a digital repository of film and series clips broadly and deeply representative of film language as the latter has evolved over time and across countries and genres.

The beginning of the 21st century saw the emergence of neurocinematics, the nneuroscience of film, as a new interdisciplinary field that investigates the effect of free viewing of films on the spectators’ brain-activity, searching for similarities in their spatiotemporal responses. This new methodological approach has opened new opportunities for audience research and has provided us with insight on the level of control that aspects of the film language, such as the narrative and the editing, can have over the viewer’s brain states. At the same time, the proliferation of new brain-imaging techniques and technologies, such as the Brain-Computer Interfaces (BCIs), that enable the interaction, individually or collectively, of the brain of audiences and/or performers with the moving image, has led to the production of interactive videos, films and works of live cinema. A growing number of researchers and filmmakers use these interfaces, not only as creative and storytelling tools, but also as methods of conducting neuroscientific audience research in real-life settings. In this context, this paper presents a review and methodological analysis of relevant studies, following categorisations that are crucial for the interpretation of the results obtained, such as the brain-imaging techniques applied, the environment of the study, the number, type and role of the participants (audience versus performers), and the film form among others. The paper also focuses on how the use of BCIs is changing previous conventions, including discourses of authorship/co-authorship, mise-en-scène and editing, and the reinvention of the film language as embodiment of the audience’s cognitive state. Lastly, a way forward is proposed by looking at the potential of live brain-computer cinema as a new film form that combines live cinema, neurocinematics and the use of BCIs for studying and enabling collective audience interactions in a cinema theatre environment.

Taking a cross-linguistic perspective to the analysis of original cinematic speech, this book examines the dialogues of English and Italian films with the objective of assessing their degree of lexico-grammatical and phraseological comparability.

This paper presents an ongoing project sponsored by the University of Pisa Language Centre to compile an audiovisual corpus of specialized types of discourse of particular relevance to ESP learners in higher education. The first phase of the project focuses on collecting digitally available video clips that encode specialized language in a range of genres along an 'authentic' to 'fictional' continuum. The video clips will be analyzed from a multimodal perspective to determine how various semiotic resources work together to construct meaning. They will then be utilized in the ESP classroom to increase learners' awareness of the key contribution of different modes in specialized communication. We present some exploratory multimodal analyses performed on video clips that encode instances of political discourse across two different genres on the extreme poles of the continuum: a fictional political drama film and an authentic political science lecture.

In-camera effects are special effects in a video or a film achieved by techniques in and on the camera or its parts. They are a part of the film language and serve many purposes. Some of them undermine normal visual perception, for example, the dolly zoom effect.
This effect (also known as the "vertigo effect" and "Hitchcock zoom") was first conceived by Irmin Roberts in Alfred Hitchcock's "Vertigo" (1958). It is usually used to picture the feeling of unreality or vertigo: either the background grows in size and detail and overwhelms the foreground, or the foreground becomes immense and dominates its previous setting. Such effects cannot be observed in real life. However, as they have a strong emotional effect on a viewer, we believe that the blind audience should not miss them, while watching the film.
In this article, we have analyzed several examples of the dolly zoom effect in different films and ways of its audio description. The latter depend on its function in the film and may be explicit or implicit.

The relation between war and cinema, propaganda and cinema is a most intriguing area, located at the intersection of media studies, history and film aesthetics. A truly tragic moment in human history, the First World War was also the first to be fought before film cameras. And while in the field, airborne reconnaissance became cinematic (Virilio), domestic propaganda occupied the screen of the newly emergent national cinemas, only to see its lucid message challenged and even subverted by the fast-evolving language of cinema. Part one of this paper looks at three non-fiction films, released in 1916:Battle of Somme, With Our Heroes at the Somme(Bei unseren Helden an der Somme) andBattle of Somme(La Bataille de la Somme), as paradigmatic propaganda takes on the eponymous historical battle from British, German and French points of view. Part two analyses two war-time Hollywood melodramas, David Wark Griffith’sHearts of the World(1918) and Allen Holubar’sThe Heart of Humanity(1919), and ...

This paper presents an ongoing project sponsored by the University of Pisa Language Centre to compile an audiovisual corpus of specialized types of discourse of particular relevance to ESP learners in higher education. The first phase of the project focuses on collecting digitally available video clips that encode specialized language in a range of genres along an 'authentic' to 'fictional' continuum. The video clips will be analyzed from a multimodal perspective to determine how various semiotic resources work together to construct meaning. They will then be utilized in the ESP classroom to increase learners' awareness of the key contribution of different modes in specialized communication. We present some exploratory multimodal analyses performed on video clips that encode instances of political discourse across two different genres on the extreme poles of the continuum: a fictional political drama film and an authentic political science lecture.

The impact of French film critic André Bazin (1918-1958) on the development of film studies, though generally acknowledged, remains contested. A passionate initiator of film culture during his lifetime, his ideas have been challenged, defended and revived throughout his afterlife. Studying Film with André Bazin offers an entirely original interpretation of major concepts from Bazin’s legacy, such as auteur theory, realism, film language and the influence of film on other arts (poetry and painting in particular). By examining mostly unknown and uncollected texts, Blandine Joret explains Bazin’s methodology and adopts it in a contemporary reading, linking his ideas to major philosophical and scientific frameworks as well as more recent media practices such as advertising, CGI, 3D cinema and Virtual Reality. In tune with 21st-century concerns in media culture and film studies, this book addresses a wide readership of film scholars, students and cinephiles.

This paper addresses the problem of dubbing linguistic variation in general, and ethnically marked varieties in particular. The small corpus under scrutiny in the article is the Italian film dubbing of Eat Pray Love (2010), with particular attention paid to how Elizabeth Gilbert’s speech and cultural identity are rendered in the target version. The authors identify diastratic, diatopic and diachronic types of variation in the Italian dubbed version, as well as foreign accents present in the original - completely neutralised in the Italian version - and analyse them in an attempt to identify the connotative implications they present to the different target viewers. By examining what they have termed the “re-routing strategy” employed when an Audio-Visual Translation product presents culture-bound and multilingual constraints, they attempt to illustrate that the original skopos of the source text undergoes considerable modification when ‘crossing over’ to the Italian dubbed version.

Liveness seems to have a mimetic charge that dichotomously disavows the need to prove a point by argument and proof, a temporal framework that empowers the protagonist with the invincible prowess of addressing the whole nation at a time, of binding a community with the ‘instantaneous’ or, as one can possibly say, the ‘moment of the Global’. Apart from such orders of engagement with a de-territorialized and networked public by actually objectifying television or radio, Indian popular films have increasingly started employing a certain representational form of liveness or, to be more precise, news television. This paper tries to read the order of the ‘televisual’ in some of the contemporary popular Hindi films, not in the manner of simply tracing ‘influences’ or locating aspects of television represented in films, but of focusing exclusively on the issue of liveness that engenders a certain temporality and ideology. The purpose is to investigate how post-liberalization popular cinema in India positions itself vis-à-vis the emergent public that is networked by the temporal grid of simultaneity. Television figures in this paper as an apparatus that forces a reconsideration of the ways in which the categories of publicness, globality and network have been theorized in Film Studies.

Na década de 1970, o vídeo surgiu como um aparato tecnológico produtor de imagens rejeitado inicialmente por cineastas, devido a sua imagem precária e tecnicamente experimental. A profundidade de campo, um dos fundamentos do cinema, é reduzida neste mecanismo, no entanto, o campo de experimentação é amplo. Foi utilizado inicialmente por artistas visuais, videoartistas, performers e cineastas experimentalistas, como Jean-Luc Godard, que o incorporou ao cinema analógico, transformando ontologicamente as imagens produzidas.

Film language theory is mostly examined in an abstract manner. This is academically and practically logical: learning defined ‘rules’ and techniques is paramount to successfully understanding the methodology of directing film. However, if one considers conventional theorists, such as Katz, Mackendrick, Mamet, and Rabiger, they predominantly present an ‘ideal’ scenario, that provides the student with theoretical knowledge which aims to allow them to walk onto a professional set, with a full cast and crew, and the prerequisite equipment, and begin ‘directing’.

In reality, few first-time Directors will be in this situation. More likely, they will have very limited funds, crew and equipment and, as such, time and flexibility are the two most common practical challenges facing low & micro budget Directors. There is little academic literature specifically aimed at these filmmakers.

“There are generally accepted conventions and techniques within mainstream Film Language theory. This report examines the work of innovative filmmakers Alan Clarke, Darren Aronofsky, Ben Wheatley and Sebastian Schipper, and asks, what are some of the creative film language techniques that have been developed in low and micro budget films?”

Este artículo pretende analizar cómo Arantxa hace frente a su condición como persona dependiente en la serie Patria. El objetivo principal es demostrar cómo Arantxa se comunica con sus cuidadoras a través de los gestos limitados que le permite su parálisis. A su vez, se busca demostrar cómo Arantxa se niega a seguir la línea ideológica de su madre, revelándose contra ella a través del proceso de sujeción. Para ello, se apuesta por un método cualitativo en el que el cuerpo de Arantxa se posiciona como centro del análisis. Frente a su lucha por alcanzar la sujeción, se le presentan dos tipos de resistencia: una resistencia interna, determinada por las limitaciones físicas de su cuerpo; y una resistencia externa, cristalizada en las figuras de Miren y Celeste, que determinarían en última instancia la interrelación de Arantxa con su entorno. Pese al control que ejercen sus cuidadoras sobre ella, Arantxa logra imponer su voluntad y apostar por una resolución no violenta del conflicto. Tomando el cuerpo como eje central, este texto profundiza en otras cuestiones como la identidad nacional o el cuestionamiento de la violencia.

In the conclusion to his seminal essay on the ontology of film, André
Bazin writes, “on the other hand, cinema is also a language” (1958). Given
his insistence on cinema’s immediate access to reality, this recourse
to language raises the question whether this late admission should be
understood as a reversal of the position he had defended throughout his
essay.

Taking Bazin’s prescient views from the 1950s on three-dimensional
cinema as its starting point, Joret, in this lecture proposes that Bazin’s
acknowledgement of film as language, ultimately, surpasses the traditional
distinction of content over form. If realism is often understood as the
polar opposite of formalism, the “imaginary image” of 3-D cinema, as
Bazin termed it, offers a synthesis of these two diverging views. Looking
at recent 3-D films, such as Adieu au langage (Godard, 2014), Every Thing
Will Be Fine (Wenders, 2015) and Love (Noe, 2015), the talk will elaborate
on the possibilities of a “realist grammar” in cinema.

Las nuevas tecnologías digitales nos han costumbrado al control sobre el punto de vista con total libertad, pero esta posibilidad es un logro fruto de una larga conquista para superar las limitaciones del rectángulo escenográfico y el punto de vista fijo de la cámara oscura. Hay que destacar una conexión que vertebrará esa conquista y los posteriores espectáculos audiovisuales, la relación con los medios de transporte. La aerostación, el tren, los tranvías, aviones y automóviles ofrecerán experiencias que condicionarán la construcción del observador contemporáneo en espectáculos como los panoramas, Hale’s tours, el Mareorama, el Cineorama o el Circarama. A partir de entonces la mirada espectacular se instituye en una ambivalencia que se mantiene viva desde entonces, entre la representación del viaje como un itinerario donde el espectador permanece anclado a un punto de vista fijo, siendo el lenguaje cinematográfico el que mejor emula sus desplazamientos a través del espacio de la representación, y el ideal de un espacio inmersivo circular sin fronteras donde el espectador goce de libertad para dirigir su mirada. El articulo aborda este itinerario hasta el contexto digital actual, revelando las tensiones permanentes entre ambas concepciones, sus influencias tecnológicas y las dependencias de lenguajes narrativos y audiovisuales.

Lo scopo di questo lavoro è analizzare e paragonare il parlato trasmesso di tre film italiani di periodi diversi (1937, 1957 e 1991), accomunati dal soggetto, ma eterogenei dal punto di vista delle scelte linguistiche, al fine di confrontare le dinamiche temporali e il modo in cui tali preferenze mirino a caratterizzare personaggi e situazioni prendendo a modello il repertorio linguistico a disposizione, imitando o riflettendo usi e comportamenti reali del parlato.  Dopo aver inquadrato la complessa cornice linguistica costituita dall’architettura dell’italiano e le varietà e i fenomeni in essa presenti, si punta l’attenzione sulle particolarità della lingua trasmessa e, nello specifico, al parlato filmico e sui suoi tratti linguistici più importanti, ripercorrendo inoltre la storia della cinematografia e, soprattutto, l’evoluzione storica della lingua dei film.  L’analisi, condotta esaminando i tratti peculiari dell’italiano, dei dialetti e delle lingue straniere presenti nel corpus, permette di ottenere uno sguardo comparativo dei caratteri linguistici del parlato simulato delle tre produzioni in ogni repertorio, permettendo inoltre di delineare un preciso quadro evolutivo delle scelte verbali sulle quali è forgiato il linguaggio di ogni produzione.

Jak bardzo nasza cywilizacja zmieni się pod wpływem nieustannego i dynamicznego rozwoju cyfrowych środków komunikacji masowej? Naukowcy i filozofowie formułują najróżniejsze przewidywania, wśród których nie brak wizji ścisłego zintegrowania człowieka z wytworami najnowszych technologii. Z drugiej strony - wyrazisty nurt dyskursu humanistycznego, wywodzący się z psychoanalizy i fenomenologii, obwieszcza trwałość, hegemonię, a nawet dalszą ekspansję "starego medium" - filmu, pojmowanego jako paradygmat estetyczny i komunikacyjny. Jego dominującą pozycję w kulturze potwierdza łatwość, z jaką film dostosował się do środowiska cyfrowego, czy choćby coraz lepsza kondycja kin, w których widzów wcale nie ubywa. Czy w sytuacji trwałego triumfu języka kinematograficznego, pojmowanego jako wiodąca forma komunikacji masowej, systemy edukacyjne mogą ignorować potrzebę wychowywania odbiorców przekazów audiowizualnych, rezygnować z idei kształtowania kompetencji świadomego i krytycznego ...