film
On the Road
"Alas, alas, Sal. It's not me, I'm drunk. But my soul talking direct soul language, so to speak, to my deepest blood brother and holy goof, that's you. And to be formal and analytical about it, let me objectify the characteristics I miss the most of you. Number 1 your conversation. Number 2 your brotherly smile, man. But I shall go on, so to close and get the gist Denver waits for you. Carlo in his damp grotto and clowned misery to use a paradox of expression waits for you, so get on it! Be quick and hurry to me, no delay. Bring Paradise to Denver. Bring Paradise to Denver. And I love you as ever. Dean, Drunk."
Enemy
"Control, it's all about control. Every dictatorship has one obsession and that's it. In ancient Rome they gave the people bread and circuses. They kept population busy with entertainment but other dictatorships used other strategies to control ideas, the knowledge... how do they do that? Lower education, they limit culture, censor information, they censor any means of individual expression and is important to remember this, that this is a pattern, that repeats itself through out history."
Inside Llewyn Davis
"Do you ever think about the future at all?" "You mean like flying cars, hotels on the moon, Tang? You mean like move to the suburbs, have kids?" "That's bad?" "If that's what music is to you, a way to get to that place, then yeah, it's a little careerist and it's a little square and it's a little sad."
Alien
"Final report, the commercial star-ship Nostromo. Third officer reporting. The other members of the crew—Kane, Lambert, Parker, Brett, Ash, and Captain Dallas—are dead. Cargo and ship destroyed. I should reach the frontier within six weeks. With a little luck the network will pick me up. This is Ripley, last survivor of the Nostromo, signing off."
Star Wars-A New Hope
"For over a thousand generations, the Jedi Knights were the guardians of peace and justice in the Old Republic. Before the dark times, before the Empire."
Dr. Strangelove
"He said war was too important to be left to the generals. When he said that, 50 years ago, he might have been right. But today, war is too important to be left to politicians. They have neither the time, the training, nor the inclination for strategic thought. I can no longer sit back and allow Communist infiltration, Communist indoctrination, Communist subversion and the international Communist conspiracy to sap and impurify all of our precious bodily fluids."
Smoke Signals
"How do we forgive our fathers? Maybe in a dream. Do we forgive our fathers for leaving us too often, or forever, when we were little? Maybe for scaring us with unexpected rage, or making us nervous because there never seemed to be any rage there at all? Do we forgive our fathers for marrying, or not marrying, our mothers? Or divorcing, or not divorcing, our mothers? And shall we forgive them for their excesses of warmth or coldness? Shall we forgive them for pushing, or leaning? For shutting doors or speaking through walls? For never speaking, or never being silent? Do we forgive our fathers in our age, or in theirs? Or in their deaths, saying it to them or not saying it. If we forgive our fathers, what is left"
Alien
"I admire its purity. A survivor. Unclouded by conscience, remorse, or delusions of morality"
Star Wars-A New Hope
"It's an energy field created by all living things. It surrounds us and penetrates us; it binds the galaxy together."
Do the Right Thing
"Let me tell you the story of Right Hand, Left Hand. It's a tale of good and evil. Hate: it was with this hand that Cain iced his brother. Love: these five fingers, they go straight to the soul of man. The right hand: the hand of love. The story of life is this: static. One hand is always fighting the other hand, and the left hand is kicking much ass. I mean, it looks like the right hand, Love, is finished. But hold on, stop the presses, the right hand is coming back. Yeah, he got the left hand on the ropes, now, that's right. Ooh, it's a devastating right and Hate is hurt, he's down. Left-Hand Hate KOed by Love."
Real Women Have Curves
"Like my grandmother used to say, 'There's no better dressing than meat on bones.'"
They Live
"Our impulses are being redirected. We are living in an artificially induced state of consciousness that resembles sleep. (...) The poor and the underclass are growing. Racial justice and human rights are nonexistent. They have created a repressive society, and we are their unwitting accomplices. Their intention to rule rests with the annihilation of consciousness. We have been lulled into a trance. They have made us indifferent to ourselves, to others. We are focused only on our own gain. Please understand. They are safe as long as they are not discovered. That is their primary method of survival. Keep us asleep, keep us selfish, keep us sedated."
Dr Strangelove
"Survival kit contents check. In them you'll find: one forty-five caliber automatic; two boxes of ammunition; four days' concentrated emergency rations; one drug issue containing antibiotics, morphine, vitamin pills, pep pills, sleeping pills, tranquilizer pills; one miniature combination Russian phrase book and Bible; one hundred dollars in rubles; one hundred dollars in gold; nine packs of chewing gum; one issue of prophylactics; three lipsticks; three pair of nylon stockings. Shoot, a fella' could have a pretty good weekend in Vegas with all that stuff."
Do the Right Thing
"The **** is wrong with you? This ain't about money. I could give a **** about money. You see this ****ing place? I built this ****ing place with my bare ****ing hands. Every light socket, every piece of tile - me, with these ****ing hands."
On The Road
"The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars."
dystopia
"The utopia and its offshoot, the dystopia, are genres of literature that explore social and political structures. Utopian fiction is the creation of an ideal world, or utopia, as the setting for a novel. Dystopian fiction is the opposite: creation of a nightmare world, or dystopia. Many novels combine both, often as a metaphor for the different directions humanity can take in its choices, ending up with one of two possible futures. Both utopias and dystopias are commonly found in science fiction and other speculative fiction genres, and arguably are by definition a type of speculative fiction."
No Country For Old Men
"There was this boy I sent to the 'lectric chair at Huntsville Hill here a while back. My arrest and my testimony. He killt a fourteen-year-old girl. Papers said it was a crime of passion but he told me there wasn't any passion to it. Told me that he'd been planning to kill somebody for about as long as he could remember. Said that if they turned him out he'd do it again. Said he knew he was going to hell. 'Be there in about fifteen minutes'. I don't know what to make of that. I sure don't. The crime you see now, it's hard to even take its measure. It's not that I'm afraid of it. I always knew you had to be willing to die to even do this job. But, I don't want to push my chips forward and go out and meet something I don't understand. A man would have to put his soul at hazard. He'd have to say, 'O.K., I'll be part of this world.'"
Full Metl Jacket
"These are great days we're living, bros. We are jolly green giants, walking the Earth with guns. These people we wasted here today are the finest human beings we will ever know. After we rotate back to the world, we're gonna miss not having anyone around that's worth shooting."
They Live
"They are dismantling the sleeping middle class. More and more people are becoming poor. We are their cattle. We are being bred for slavery."
Full Metal Jacket
"This is my rifle. There are many others like it, but this one is mine. My rifle is my best friend. It is my life. I must master it as I must master my life. Without me, my rifle is useless. Without my rifle, I am useless. I must fire my rifle true. I must shoot straighter than my enemy, who is trying to kill me. I must shoot him before he shoots me. I will. Before God I swear this creed: my rifle and myself are defenders of my country, we are the masters of our enemy, we are the saviors of my life. So be it, until there is no enemy, but peace. Amen."
No Country For Old Men
"Whatcha got ain't nothin new. This country's hard on people, you can't stop what's coming, it ain't all waiting on you. That's vanity."
Enemy
"You brought my wife into this, man! So I'm gonna bring your girlfriend into the picture as well. You want me out of your life? This is what's gonna happen first. You're gonna give me your clothes and your car, I'm gonna take your girlfriend on a little romantic getaway. I'm gonna bring her back home tomorrow, and then I'm gonna come back here, and I'm gonna bring back all your stuff, and I'm going to disappear from your life forever. Then we will be even."
Smoke Signals
"You gotta look mean, or people won't respect you. White people will run all over you if you don't look mean. You gotta look like a warrior. You goth look like you just came back from killing a buffalo."
Crooklyn
"You know, you seem to forget, I'm the one used to pay for you and the children to go to Bloomingdale's and Lord & Taylor to get what you wanted when you wanted. You ain't the only one contributed to this family, Gem. You got to remember that."
Inside LlewynDavis
"You've probably heard that one before. It's not new and it never gets old and it's a folk song."
Crooklyn
"Your daddy may not mind but your momma do. I'm going with your father to a gig tonight and when I come home, this house BET-TER be clean. I'll be goddamed if I should have to do anything when I come home from work but sleep and relax!"
Real Women Have Curves
"[In Spanish] It's a matter of principle. It's not fair. I worked since I was 13 years old and Ana is 18 years old. Now it's her turn."
13. consciousness
--Based on Austrian Psychologist Sigmund Freud's view, our consciousness can be seen as having three states: The conscious state is our everyday waking state where logic and mental objectivity exists. This is where we use our mental abilities: thinking, analyzing, learning. The unconscious state is our hidden self, our shadow/dark side. It is our inner child and all our stored emotions and feelings. This is the realm of dreams, instincts, and memories. The unconscious can be further divided into personal unconscious (our subconscious) and collective unconscious, or the collective memories and symbols of a culture. The superconscious/preconsciousness state is our higher/spirit self, our light side. This is where we can access our potential, creativity, and intuition. The abilities that enable us to be the best we can be.
54. subliminal perception
--psychological perception of or reaction to a stimulus that occurs without awareness or consciousness Also called: subception
55. subliminal perception
--psychological perception of or reaction to a stimulus that occurs without awareness or consciousness Also called: subception
developing character
A character who during the course of a story undergoes a permanent change in some aspect of character or outlook.
12 Stages of The Hero's Journey
A popular form of structure derived from Joseph Campbell's Monomyth from his book The Hero With A Thousand Faces and adapted by Christopher Vogler is the Twelve Stage Hero's Journey. This is essentially a more detailed Character Arc for your story's hero which is overlayed onto the more traditional three-act structure that many successful Hollywood movies such as Star Wars and The Wizard of Oz when analyzed appear to follow. 1. Ordinary World 2. Call To Adventure 3. Refusal Of The Call 4. Meeting The Mentor 5. Crossing The Threshold 6. Tests, Allies, Enemies 7. Approach To The Inmost Cave 8. Ordeal 9. Reward (Seizing The Sword) 10. The Road Back 11. Resurrection 12. Return With Elixir
anticlimax
An is a situation in a plot in which something which would appear to be difficult to solve is solved through something trivial. For example, destroying a heavily guarded facility would require advanced technology, teamwork, and weaponry for a climax, but for an anticlimax, it may just require pushing a red button which reads, "Emergency Self-Destruct", or simply filling out an eviction notice and destroying the building. A famous example is the ending of The War of the Worlds, where amidst the chaos of the extraterrestrial takeover of planet Earth, the aliens are defeated by the most unexpected organism: the common cold virus. Another example could involve the protagonist faced with insurmountable odds and ultimately being killed without accomplishing his goal, despite what appears to be a turning point for the character.
35. MacGuffin
In fiction, a plot device in the form of some goal, desired object, or another motivator that the protagonist pursues, often with little or no narrativeexplanation. The MacGuffin's importance to the plot is not the object itself, but rather its effect on the characters and their motivations. The most common type of MacGuffin is a person, place, or thing (such as money or an object of value).
authorial intent
In literary theory and aesthetics, refers to an author's intent as it is encoded in his or her work. Authorial intentionalism is the view, according to which an author's intentions should constrain the ways in which it is properly interpreted
hero's journey (mono-myth)
In narratology and comparative mythology, the monomyth, or the hero's journey, is the common template of a broad category of tales that involve a hero who goes on an adventure, and in a decisive crisis wins a victory, and then comes home changed or transformed.[1]
44. psychological conflict
The object of psychoanalytic literary criticism, at its very simplest, can be the psychoanalysis of the author or of a particularly interesting character in a given work. The criticism is similar to psychoanalysis itself, closely following the analytic interpretive process discussed in Freud's The Interpretation of Dreams and other works. Critics may view the fictional characters as psychological case studies, attempting to identify such Freudian concepts as the Oedipus complex, penis envy, Freudian slips, Id, ego and superego and so on, and demonstrate how they influence the thoughts and behaviors of fictional characters. Id—primal nature/hunger/desire; Ego—long term desire; Superego—mediator of id and superego/morality
foil
a character who contrasts with another character (usually the protagonist) in order to highlight particular qualities of the other character.[2][3][4] In some cases, a subplot can be used as a foil to the main plot. This is especially true in the case of metafiction and the "story within a story" motif.[5] The word foil comes from the old practice of packing gems with foil in order to make them shine more brightly.
61. theme
a distinct, recurring, and unifying quality or idea a broad idea or a message conveyed by a work, such as a performance, a painting, a motion picture, or a video game. This message is usually about life, society or human nature. Themes are the fundamental and often universal ideas explored in a work. Themes are usually implied rather than explicitly stated.
denouement
a final part in which everything is made clear and no questions or surprises remain, the final unraveling of a plot
63. transgressive fiction
a genre of literature that focuses on characters who feel confined by the norms and expectations of society and who break free of those confines in unusual and/or illicit ways.
46. satire
a genre, in which vices, follies, abuses, and shortcomings are held up to ridicule, ideally with the intent of shaming individuals, and society itself, into improvement.
doppelganger
a ghostly double of another character, especially if it haunts its counterpart - a doppelganger, in German, means "double walker" - it's like a carbon copy of a character with a different soul. However, one of the criteria for a doppelganger isn't that it looks like its counterpart.
52. static character—
a literary character who remains basically unchanged throughout a work
bildungsroman
a novel about the early years of somebody's life, exploring the development of his or her character and personality
41. paradox
a statement that, despite apparently sound reasoning from true premises, leads to a self-contradictory or a logically unacceptable conclusion.[1][2] Some logical paradoxes are known to be invalid arguments but are still valuable in promoting critical thinking.[3]
65. visual metaphor
a visual metaphor is a comparison that helps us better understand an image because of its similarity to another image. This comparison is usually achieved through the editorial juxtaposition of two images in two successive shots. An example is a metaphor in Sergei Eisenstein's Strike: Shots of workers being pursued and killed are alternated with shots of a butcher slaughtering a bull.
36. mise-en-scène
an expression used to describe the design aspect of a theatre or film production, which essentially means "visual theme" or "telling a story"—both in visually artful ways through storyboarding, cinematography and stage design, and in poetically artful ways through direction. It is also commonly used to refer to single scenes within the film to represent the film; has been called film criticism's "grand undefined term"
38. motif—
an important and sometimes recurring theme or idea in a work of literature.
flashback (sometimes called an analepsis)
an interjected scene that takes the narrative back in time from the current point in the story.[1] Flashbacks are often used to recount events that happened before the story's primary sequence of events to fill in crucial backstory.[2] In the opposite direction, a flashforward (or prolepsis) reveals events that will occur in the future.[3] Both flashback and flashforward are used to cohere a story, develop a character, or add structure to the narrative. In literature, internal analepsis is a flashback to an earlier point in the narrative; external analepsis is a flashback to a time before the narrative started.[4]
49. slasher films
are a subgenre of horror films, typically involving a serial killer murdering several victims, usually with bladed tools in somewhat a game of cat and mouse. Although the term "slasher" is sometimes used informally as a generic term for any horror movie involving murder, analysts of the genre cite an established set of characteristics which allegedly set these films apart from other horror subgenres, such as splatter films and psychological horror films.[1]
fantasy films
are films that belong to the fantasy genre with fantastic themes,usually magic, supernatural events, mythology, folklore, or exotic fantasy worlds. The genre is considered a form of speculative fiction alongside science fiction films and horror films, although the genres do overlap. Fantasy films often have an element of magic, myth, wonder, escapism, and the extraordinary.[1]
strange loop
arises when, by moving only upwards or downwards through a hierarchical system, one finds oneself back to where one started.
epic hero
biologically different/traditionally good, wise and moral—(Luke) Hero traits—unusual birth, leaves family, traumatic events lead to quest, special weapon, supernatural assistance, proves himself, journey and un-healable wound, atonement with father, spiritual apotheosis
56. subliminal stimuli
contrary to supraliminal stimuli or "above threshold", are any sensory stimuli below an individual's thresholdfor conscious perception.[2] A recent review of functional magnetic resonance imaging (fMRI) studies shows that subliminal stimuli activate specific regions of the brain despite participants being unaware.[3] Visual stimuli may be quickly flashed before an individual can process them, or flashed and then masked, thereby interrupting the processing. Audio stimuli may be played below audible volumes or masked by other stimuli.
34. intrinsic metaphor--
emerge directly from the context of the scene itself and are more natural and usually more subtle than extrinsic metaphors. Apocalypse Now contains an intrinsic metaphor very similar to the extrinsic butchering metaphor in Eisenstein's Strike. While Captain Willard (Martin Sheen) is in the temple carrying out his assignment—"terminating Kurtz (Marlon Brando) with extreme prejudice"—the camera cuts to the courtyard, where a giant bull is axed in a gruesome ritual sacrifice.
film noir
genre generally refers to mystery and crime dramas produced from the early 1940s to the late 1950s. Movies of this genre were characteristically shot in black and white, and featured stories involving femmes fatales, doomed heroes or anti-heroes, and tough, cynical detectives. Examples: The Big Sleep, The Maltese Falcon
60. The Myth of Sisyphus
is a 1942 philosophical essay by Albert Camus. The English translation by Justin O'Brien was first published in 1955. In the essay, Camus introduces his philosophy of the absurd: man's futile search for meaning, unity, and clarity in the face of an unintelligible world devoid of God and eternal truths or values. Does the realization of the absurd require suicide? Camus answers: "No. It requires revolt." He then outlines several approaches to the absurd life. The final chapter compares the absurdity of man's life with the situation of Sisyphus, a figure of Greek mythology who was condemned to repeat forever the same meaningless task of pushing a boulder up a mountain, only to see it roll down again. The essay concludes, "The struggle itself [...] is enough to fill a man's heart. One must imagine Sisyphus happy."
32. Ideology
is a collection of normative beliefs and values that an individual or group holds for other than purely epistemic reasons.[1] The term, and the system of ideas associated with it, was coined by Antoine Destutt de Tracy in 1796, and in contemporary philosophy is now narrower in scope than the original concept, or the ideas expressed in concepts such as worldview, imaginary and ontology.[2] There are many well-known ideologies, which cover a wide range of human activity. In the Althusserian sense, ideology is "the imagined existence (or idea) of things as it relates to the real conditions of existence".
farce
is a comedy that aims at entertaining the audience through situations that are highly exaggerated, extravagant, and thus improbable.[1] Farces are often highly incomprehensible plot-wise (due to the many plot twists and random events that occur), but viewers are encouraged not to try to follow the plot in order to avoid becoming confused and overwhelmed. Farce is also characterized by physical humor, the use of deliberate absurdity or nonsense, and broadly stylized performances. Farces have been written for the stage and film. Furthermore, a farce is also often set in one particular location, where all events occur.
black comedy (or dark comedy)
is a comic style that makes light of themes that are generally considered serious or taboo. Black comedy corresponds to the earlier concept of gallows humor. Black comedy is often controversial due to its subject matter.
57. surrealism
is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to "resolve the previously contradictory conditions of dream and reality". Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects and developed painting techniques that allowed the unconscious to express itself.
horror
is a film genre seeking to elicit a negative emotional reaction from viewers by playing on the audience's primal fears. Inspired by literature from authors like Edgar Allan Poe, Bram Stoker, and Mary Shelley, horror films have existed for more than a century. The macabre and the supernatural are frequent themes, and may overlap with the fantasy, supernatural fiction and thriller genres.[1]
47. science fiction film (aka Sci-Fi movie)
is a film genre that uses science fiction: speculative, fictional science-based depictions of phenomena that are not fully accepted by mainstream science, such as extraterrestrial lifeforms, alien worlds, extrasensory perception and time travel, along with futuristic elements such as spacecraft, robots, cyborgs, interstellar travel or other technologies. Science fiction films have often been used to focus on political or social issues, and to explore philosophical issues like the human condition. In many cases, tropes derived from written science fiction may be used by filmmakers ignorant of or at best indifferent to the standards of scientific plausibility and plot logic to which written science fiction is traditionally held.[1]
50. social class conflict/Marxist literary criticism
is a loose term describing literary criticism based on socialist and dialectic theories. Marxist criticism views literary works as reflections of the social institutions from which they originate. According to Marxists, even literature itself is a social institution and has a specific ideological function, based on the background and ideology of the author.
gentrification
is a process of renovating deteriorated urban neighborhoods by means of the influx of more affluent residents. This is a common and controversial topic in politics and in urban planning. Gentrification can improve the material quality of a neighborhood, while also potentially forcing relocation of current, established residents and businesses, causing them to move from a gentrified area, seeking lower cost housing and stores.
51. social representation
is a stock of values, ideas, metaphors, beliefs, and practices that are shared among the members of groups and communities. Social representation theory is a body of theory within social psychology and sociological social psychology. It has parallels in sociological theorizing such as social constructionism and symbolic interactionism, and is similar in some ways to mass consensus and discursive psychology.
59. The Möbius strip or Möbius band
is a surface with only one side and only one boundary. The Möbius strip has the mathematical property of being non-orientable. It can be realized as a ruled surface. It was discovered independently by the German mathematicians August Ferdinand Möbius and Johann Benedict Listing in 1858.
historical period drama
is a work of art set in, or reminiscent of, an earlier time period. The term is usually used in the context of film and television. It is an informal crossover term that can apply to several genres but is most often heard in the context of historical fiction and romances, adventure films, and swashbucklers. The implication is that the audience is attracted as much by the lavish costumes as by the content. In the performing arts, a period piece is a work set in a particular era. This informal term covers all countries, all periods and all genres. It may be as long and general as the medieval era or as limited as one decade—the Roaring Twenties, for example.
45. Rotten Tomatoes
is an American review-aggregation website for film and television. The company was launched in August 1998 by three undergraduate students at the University of California, Berkeley: Senh Duong, Patrick Y. Lee and Stephen Wang.[4][5][6][7] The name "Rotten Tomatoes" derives from the practice of audiences throwing rotten tomatoes when disapproving of a poor stage performance.
auteur
is an artist, such as a film director, who applies a highly centralized and subjective control to many aspects of a collaborative creative work; in other words, a person equivalent to an author of a novel or a play. The term is commonly referenced to filmmakers or directors with a recognizable style or thematic preoccupation.
33. IMDb, an abbreviation of Internet Movie Database,
is an online database of information related to world films, television programs, home videos and video games, and internet streams, including cast, production crew and personnel biographies, plot summaries, trivia, and fan reviews and ratings. An additional fan feature, message boards, was abandoned in February 2017. Originally a fan-operated website, the database is owned and operated by IMDb.com, Inc., a subsidiary of Amazon.
53. stereotype
is an over-generalized belief about a particular category of people.[1] Stereotypes are generalized because one assumes that the stereotype is true for each individual person in the category.[2] While such generalizations may be useful when making quick decisions, they may be erroneous when applied to particular individuals.[3] Stereotypes encourage prejudice[3] and may arise for a number of reasons.
free will
is the ability to choose between different possible courses of action unimpeded.[1][2]Free will is closely linked to the concepts of responsibility, praise, guilt, sin, and other judgements which apply only to actions that are freely chosen[3][4]. It is also connected with the concepts of advice, persuasion, deliberation, and prohibition. Traditionally, only actions that are freely willed are seen as deserving credit or blame. There are numerous different concerns about threats to the possibility of free will, varying by how exactly it is conceived, which is a matter of some debate.
determinism
is the philosophical theory that all events, including moral choices, are determined completely by previously existing causes. Determinism is at times understood to preclude free will because it entails that humans cannot act otherwise than they do. The theory holds that the universe is utterly rational because complete knowledge of any given situation assures that unerring knowledge of its future is also possible.[1] Some philosophers suggest variants around this basic definition.[2] Deterministic theories throughout the history of philosophy have sprung from diverse and sometimes overlapping motives and considerations. The opposite of determinism is some kind of indeterminism (otherwise called nondeterminism). Determinism is often contrasted with free will.[3]
film adaptation
is the transfer of a work or story, in whole or in part, to a feature film. Although often considered a type of derivative work, recent academic developments by scholars such as Robert Stam conceptualize film adaptation as a dialogic process. A common form of film adaptation is the use of a novel as the basis of a feature film. Other works adapted into films include non-fiction (including journalism), autobiography, comic books, scriptures, plays, historical sources, and other films. From the earliest days of cinema, in nineteenth-century Europe, adaptation from such diverse resources has been a ubiquitous practice of filmmaking.
64. trope
is the use of figurative language - via word, phrase, or even an image - for artistic effect[1] such as using a figure of speech. The word trope has also come to be used for describing commonly recurring literary and rhetorical devices,[2] motifs or clichés in creative works.[3][4]
dialogic
means relates to or is characterized by dialogue and its use. A dialogic is communication presented in the form of dialogue. Dialogic processes refer to implied meaning in words uttered by a speaker and interpreted by a listener. Dialogic works carry on a continual dialogue that includes interaction with previous information presented. The term is used to describe concepts in literary theory and analysis as well as in philosophy.
58. tag name—
name given to a dramatic character that in some way comments or characterizes upon his or her nature
aesthetic
set of principles regarding art.
antagonist
somebody or something opposing or in conflict with another, a major character in a book, play, or movie whose values or behavior are in conflict with those of the protagonist or hero. antagonist—preventer of protagonist's action (well liked or not well liked) internally or externally (Empire/Darth Vader)
40. narratology—
systematic study of narratives. the study of narrative and narrative structure and the ways that these affect our perception. While in principle the word may refer to any systematic study of narrative, in practice its usage is rather more restricted. Narratology is applied retrospectively as well to work predating its coinage. Its theoretical lineage is traceable to Aristotle (Poetics) but modern narratology is agreed to have begun with the Russian Formalists, particularly Vladimir Propp(Morphology of the Folktale, 1928), and Mikhail Bakhtin's theories of heteroglossia, dialogism, and the chronotope first presented in The Dialogic Imagination (1975).
62. tone/mood
the attitude a writer takes towards a subject or character: serious, humorous, sarcastic, ironic, satirical, tongue-in-cheek, solemn, objective.
antihero
the central character in a story who is not a traditionally brave or good hero; this hero is graceless, inept, sometimes stupid, sometimes dishonest.
43. protagonists—
the most important characters in a novel, play, story, or other literary work Protagonist—center of story—takes action (liked or not well liked) internal or external traits (Luke Skywalker)
48. setting
the period in time or the place in which the events of a story take place
42. point of view/means of perception
the perspective on events of the narrator or a particular character in a story
37. Modernism—
the revolutionary ideas developed in the early 20th century as a reaction to traditional/classical forms; characteristics include focus on perhaps cynicism of the inner self; historical discontinuity, sense of alienation, loss and despair.
extrinsic metaphor
the secondary image (the butchering) is extrinsic—that is, it has no place within the context of the scene itself but is imposed artificially into the scene by the filmmaker. Petrie, Dennis; Boggs, Joe (2011-12-01). The Art of Watching Films (Page 64). McGraw-Hill Higher Education -A. Kindle Edition.In a realistic or naturalistic film, extrinsic metaphors may seem forced, heavy-handed, or even ludicrous, destroying a sense of reality that may be very important to the film. In contrast, comedy or fantasy films can use such images freely, as can serious films that stress an interior or subjective viewpoint. The French film Amélie relishes its judicious use of such metaphors, which sometimes also serve as visual puns
39. narrativity
—how a story is told and received within a particular film, In film theory, narrativity refers to the processes by which a story is both presented by the filmmaker and interpreted by the viewer. The term must be distinguished from narrative, which refers to the story itself.
allegory
—symbolic story—and in its most general sense is an extended metaphor. Allegory has been used widely throughout history in all forms of art, largely because it can readily illustrate complex ideas and concepts in ways that are comprehensible or striking to its viewers, readers, or listeners.