Corpus ID: 193587936

What Movies Show: Realism, Perception and Truth in Film

  title={What Movies Show: Realism, Perception and Truth in Film},
  author={Lindsey Fiorelli},
Film-viewing is a unique aesthetic experience, and it seems to possess a unique sort of tension. On the one hand, a film’s story seems to just be there before us: we’re directly presented with sights and sounds and can perceive the objects, people, and places depicted in the same sort of way we perceive things in the world. On the other hand, there’s an important sort of constructedness in film. Film-viewers have to cognize what’s represented by a film’s perceptual prompts; we have to bring our… Expand
Speech Act of Threat in Everyday Conflict Discourse: Production and Perception
Abstract The article explores pragmasemantic aspects of the speech act of threat (SAT) in everyday conflict discourse, using examples from Russian colloquial speech. The authors analyze the impact ofExpand


Transparency and Twist in Narrative Fiction Film
One of the characteristic marks of classical narrative films is that their audio/visual narration is, in a certain sense, transparent.1 Very roughly, this means that (1) most of the shots in theseExpand
What Do We See In Film
Here are two obvious and widely known facts about one way films are made. First, many films are made by a process that involves two levels of representation. Actors, with the aid of sets, props, andExpand
Film (cinema) perception
Book synopsis: Film (cinema) perception refers to the sensory and cognitive processes employed when viewing scenes, events, and narratives presented in edited moving images. Dynamic visual media suchExpand
The Unreliable Narrator in Documentary
IN A MEDIA-SATURATED WORLD, it can be very hard to parse who and what to believe. With the lines between documentary and fiction increasingly blurred in the aesthetics of contemporary filmmaking,Expand
Sutured Reality: Film, from Photographic to Digital
The advent of the digital image changes cinema’s relationship with physical reality.1 No longer, the story goes, are we dealing with an image based (as with photography on film) exclusively on aExpand
On Seeing Walton's Great-Grandfather
Walton is explicit on one point: he does not mean merely that we have the impression of seeing ancestors, or that photographs supplement vision, or that they are duplicates or reproductions orExpand
The attentional theory of cinematic continuity
The intention of most film editing is to create the impression of continuity by editing together discontinuous viewpoints. The continuity editing rules are well established yet there exists anExpand
Seeing-as, seeing-in, and pictorial representation
In Art and its Objects I made two claims about pictorial representation. The first claim was that representation (as I shall call it for short) is to be understood through, though not exclusivelyExpand
Fiction and the emotions
XT is a fact about many of us that we can be moved by what we know to be fictional. But it is a fact that has been seen by philosophers as problematic in a variety of ways. Plato worried about theExpand
Documentary Film: A Very Short Introduction
Documentary film can encompass anything from Robert Flaherty's pioneering ethnography Nanook of the North to Michael Moore's anti-Iraq War polemic Fahrenheit 9/11, from Dziga Vertov's artful SovietExpand