tailieunhanh - DAVID BORDWELL ON PROPP AND FILM NARRATOLOGY LEA JACOBS ON BLONDE VENUS AND CENSORSHIP ROBERT LANG ON KISS ME DEADLY

Here the issue is that students will respond differently to a silent film depending on a variety of factors, such as the quality of the print selected. Instructors make numerous choices concerning the way in which the class is conducted and mate- rials are integrated. Many of these choices, such as which print of a film to use, may seem relatively simple, but they can often have larger, unforeseen implica- tions. One illustration of this involves Edward T. Hall’s notion of proxemics—the relationship of social space to culture. In The Hidden Dimension, Hall defines proxemics as the “use of space as a specialized elaboration of culture,”5 noting for. | I CJNKMA JOURNAL 27 No. 3 Spring 1988 David Bordwell on Propp and Film Narratology Lea Jacobs on Blonde Venus and Censorship Robert Lang on Kiss Me Deadly s to g-er T- ig of in 3d le le n 30 fi- le is ri-f s ve us pt li- as er of 1C rs of ill xt ApProppriations and ImPropprieties Problems in the Morphology of Film Narrative by David Bordwell When Vladimir Propp died in 1970 his name had become a reference point in the theory of narrative. The Morphology of the Folktale published in Russian in 1928 appeared in English thirty years later and was soon brought out in other languages. Anthropologists and folklorists were quick to praise criticize test and revise his A. J. Greimas Tzvetan Todorov Claude Bremond and Roland Barthes made the Morphology one point of departure for structuralist narratology and homage is still paid in the poststructuralist Soon after the publication of the 1968 revised English edition of the Morphology Peter Wollen suggested that Propp might be a fruitful source for cinema semiotics and over the last decade film and television studies have developed a tradition of morphological As recently as 1985 a writer in The Cinema Book allotted several large-format pages to Proppian For many critics Propp has become the Aristotle of film narratology yet his influence has come at the cost of serious misunderstandings. The English editions of the Morphology pose problems of injudicious editing and faulty translation. More problematically film scholars have taken Propp out of context and recast him almost out of recognition. There are good reasons to regard the Proppian approach to film narrative as a dead end. The argument for the morphological approach although usually tacit seems to run this way5 1. Through structural analysis the Russian Formalist Vladimir Propp revealed that the underlying structure of the folktale consists of thirty-one functions. As Geoffrey Hartmann puts it In his Morphology of the Folktale Propp

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