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Aesthetic Distance
Aesthetic distance refers to the gap between a viewer's conscious reality and the fictional reality presented in a work of art. When a reader becomes fully engrossed in the illusory narrative world of a book, the author has achieved a close aesthetic distance. If the author then jars the reader from the reality of the story, essentially reminding the reader they are reading a book, the author is said to have "violated the aesthetic distance." Overview The concept originates from Immanuel Kant's ''Critique of Judgement'', where he establishes the notion of ''disinterested delight'' which does not depend on the subject's having a desire for the object itself, he writes, "delight in beautiful art does not, in the pure judgement of taste, involve an immediate interest. ..it is not the object that is of immediate interest, but rather the inherent character of the beauty qualifying it for such a partnership-a character, therefore, that belongs to the very essence of beauty." The term ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Immanuel Kant
Immanuel Kant (, , ; 22 April 1724 – 12 February 1804) was a German philosopher and one of the central Enlightenment thinkers. Born in Königsberg, Kant's comprehensive and systematic works in epistemology, metaphysics, ethics, and aesthetics have made him one of the most influential figures in modern Western philosophy. In his doctrine of transcendental idealism, Kant argued that space and time are mere "forms of intuition" which structure all experience, and therefore that, while " things-in-themselves" exist and contribute to experience, they are nonetheless distinct from the objects of experience. From this it follows that the objects of experience are mere "appearances", and that the nature of things as they are in themselves is unknowable to us. In an attempt to counter the skepticism he found in the writings of philosopher David Hume, he wrote the '' Critique of Pure Reason'' (1781/1787), one of his most well-known works. In it, he developed his theory of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Stop The World I Want To Get Off
Stop may refer to: Places *Stop, Kentucky, an unincorporated community in the United States * Stop (Rogatica), a village in Rogatica, Republika Srpska, Bosnia and Herzegovina Facilities * Bus stop * Truck stop, a type of rest stop for truck drivers * ''Rail stop'', colloquialism for a railway station Film * ''Stop'', a 1970 American film by Bill Gunn with Marlene Clark, Anna Aries, Edward Michael Bell * ''Stop'', a 1972 French-Canadian film by Jean Beaudin * ''Stop!'', a 2004 Hindi romantic film starring Dia Mirza * ''Stop'' (2015 film) South Korean-Japanese co-production directed by Kim Ki-duk Music * Double stop, the act of playing two notes simultaneously * Organ stop, a component of a pipe organ * Stop (Stockhausen), a composition for orchestra by Karlheinz Stockhausen Albums * ''Stop'' (Don Lanphere album), and the title song, 1983 * ''Stop'' (Eric Burdon Band album), and the title song, 1975 * ''Stop'' (Franco De Vita album), 2004 * ''Stop'' (Plain White T' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Metafictional Techniques
Metafiction is a form of fiction which emphasises its own narrative structure in a way that continually reminds the audience that they are reading or viewing a fictional work. Metafiction is self-conscious about language, literary form, and story-telling, and works of metafiction directly or indirectly draw attention to their status as artifacts. Metafiction is frequently used as a form of parody or a tool to undermine literary conventions and explore the relationship between literature and reality, life, and art. Although metafiction is most commonly associated with postmodern literature that developed in the mid-20th century, its use can be traced back to much earlier works of fiction, such as ''The Canterbury Tales'' (Geoffrey Chaucer, 1387), ''Don Quixote'' (Miguel de Cervantes, 1605), ''The Life and Opinions of Tristram Shandy, Gentleman'' (Laurence Sterne, 1759), and '' Vanity Fair'' (William Makepeace Thackeray, 1847). Metafiction became particularly prominent in the 1960 ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Concepts In Film Theory
Concepts are defined as abstract ideas. They are understood to be the fundamental building blocks of the concept behind principles, thoughts and beliefs. They play an important role in all aspects of cognition. As such, concepts are studied by several disciplines, such as linguistics, psychology, and philosophy, and these disciplines are interested in the logical and psychological structure of concepts, and how they are put together to form thoughts and sentences. The study of concepts has served as an important flagship of an emerging interdisciplinary approach called cognitive science. In contemporary philosophy, there are at least three prevailing ways to understand what a concept is: * Concepts as mental representations, where concepts are entities that exist in the mind (mental objects) * Concepts as abilities, where concepts are abilities peculiar to cognitive agents (mental states) * Concepts as Fregean senses, where concepts are abstract objects, as opposed to mental obje ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Fourth Wall
The fourth wall is a performance convention in which an invisible, imaginary wall separates actors from the audience. While the audience can see through this ''wall'', the convention assumes the actors act as if they cannot. From the 16th century onward, the rise of illusionism in staging practices, which culminated in the realism and naturalism of the theatre of the 19th century, led to the development of the fourth wall concept. The metaphor suggests a relationship to the mise-en-scène behind a proscenium arch. When a scene is set indoors and three of the walls of its room are presented onstage, in what is known as a box set, the fourth of them would run along the line (technically called the proscenium) dividing the room from the auditorium. The ''fourth wall'', though, is a theatrical convention, rather than of set design. The actors ignore the audience, focus their attention exclusively on the dramatic world, and remain absorbed in its fiction, in a state that ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Suspension Of Disbelief
Suspension of disbelief, sometimes called willing suspension of disbelief, is the avoidance of critical thinking or logic in examining something unreal or impossible in reality, such as a work of speculative fiction, in order to believe it for the sake of enjoyment. Aristotle first explored the idea of the concept in its relation to the principles of theater; the audience ignores the unreality of fiction in order to experience catharsis. Origin The poet and aesthetic philosopher Samuel Taylor Coleridge introduced the English-language term "suspension of disbelief" in 1817 and suggested that if a writer could infuse a "human interest and a semblance of truth" into a fantastic tale, the reader would suspend judgement concerning the implausibility of the narrative. Coleridge sought to revive the use of fantastic elements in poetry and developed a concept to support how a modern, enlightened audience might continue to enjoy such types of literature. The term resulted from a phil ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Distancing Effect
The distancing effect, also translated as alienation effect (german: Verfremdungseffekt or ''V-Effekt''), is a concept in performing arts credited to German playwright Bertolt Brecht. Brecht first used the term in his essay "Alienation Effects in Chinese Acting" published in 1936, in which he described it as performing "in such a way that the audience was hindered from simply identifying itself with the characters in the play. Acceptance or rejection of their actions and utterances was meant to take place on a conscious plane, instead of, as hitherto, in the audience's subconscious". Origin The term ''Verfremdungseffekt'' is rooted in the Russian Formalist notion of the device of ''making strange'' (приём отстранения ''priyom otstraneniya''), which literary critic Viktor Shklovsky claims is the essence of all art. Lemon and Reis's 1965 English translation of Shklovsky's 1917 coinage as "defamiliarization", combined with John Willett's 1964 translation of Brecht' ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
On Directing Film
''On Directing Film'' is a non-fiction book by American playwright and filmmaker David Mamet () published in 1991. Overview The book is made up of six chapters, of which the second and fifth take the form of dialogue between Mamet and unnamed students, reflecting that the book was based on classes in film directing held by Mamet at Columbia University's film school. Mamet takes a strong oppositional view to mainstream American filmmaking, method acting, and general indulgence in art. He cites as his major influence Sergei Eisenstein and his montage theory, and makes numerous references to the work of Russian theatre director and theorist Stanislavsky Konstantin Sergeyevich Stanislavski ( Alekseyev; russian: Константин Сергеевич Станиславский, p=kənstɐnʲˈtʲin sʲɪrˈgʲejɪvʲɪtɕ stənʲɪˈslafskʲɪj; 7 August 1938) was a seminal Soviet Russian th .... 1991 non-fiction books Books about film Books by David Mamet Penguin Books ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
David Mamet
David Alan Mamet (; born November 30, 1947) is an American playwright, filmmaker, and author. He won a Pulitzer Prize and received Tony Award, Tony nominations for his plays ''Glengarry Glen Ross'' (1984) and ''Speed-the-Plow'' (1988). He first gained critical acclaim for a trio of off-Broadway 1970s plays: ''The Duck Variations'', ''Sexual Perversity in Chicago'', and ''American Buffalo (play), American Buffalo''. His plays ''Race (play), Race'' and ''The Penitent (play), The Penitent'', respectively, opened on Broadway theater, Broadway in 2009 and previewed off-Broadway in 2017. Feature films that Mamet both wrote and directed include ''House of Games'' (1987), ''Homicide (1991 film), Homicide'' (1991), ''The Spanish Prisoner'' (1997), and his biggest commercial success, ''Heist (2001 film), Heist'' (2001). His screenwriting credits include ''The Postman Always Rings Twice (1981 film), The Postman Always Rings Twice'' (1981), ''The Verdict'' (1982), ''The Untouchables (film), ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Product Placement
Product placement, also known as embedded marketing, is a marketing technique where references to specific brands or products are incorporated into another work, such as a film or television program, with specific promotional intent. Much of this is done by loaning products, especially when expensive items, such as vehicles, are involved. In 2021, the agreements between brand owners and films and television programs were worth more than US$20 billion. While references to brands (real or fictional) may be voluntarily incorporated into works to maintain a feeling of realism or be a subject of commentary, product placement is the deliberate incorporation of references to a brand or product in exchange for compensation. Product placements may range from unobtrusive appearances within an environment, to prominent integration and acknowledgement of the product within the work. Common categories of products used for placements include automobiles and consumer electronics. Works produ ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Protagonist
A protagonist () is the main character of a story. The protagonist makes key decisions that affect the plot, primarily influencing the story and propelling it forward, and is often the character who faces the most significant obstacles. If a story contains a subplot, or is a narrative made up of several stories, then each subplot may have its own protagonist. The protagonist is the character whose fate is most closely followed by the reader or audience, and who is opposed by the antagonist. The antagonist provides obstacles and complications and creates conflicts that test the protagonist, revealing the strengths and weaknesses of the protagonist's character, and having the protagonist develop as a result. Etymology The term ''protagonist'' comes , combined of (, 'first') and (, 'actor, competitor'), which stems from (, 'contest') via (, 'I contend for a prize'). Ancient Greece The earliest known examples of a protagonist are found in Ancient Greece. At first, dramatic pe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Princess Bride (novel)
''The Princess Bride: S. Morgenstern's Classic Tale of True Love and High Adventure, The "Good Parts" Version'' is a 1973 fantasy romance novel by American writer William Goldman. The book combines elements of comedy, adventure, fantasy, drama, romance, and fairy tale. It is presented as an abridgment of a longer work by the fictional S. Morgenstern, and Goldman's "commentary" asides are constant throughout. It was originally published in the United States by Harcourt Brace, then later by Random House, while in the United Kingdom it was later published by Bloomsbury. The book was adapted into a 1987 feature film directed by Rob Reiner from a screenplay written by Goldman. William Goldman said, "I've gotten more responses on ''The Princess Bride'' than on everything else I've done put together—all kinds of strange outpouring letters. Something in ''The Princess Bride'' affects people.". A segment of the book was published as "Duel Scene (From ''The Princess Bride'')" in the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
