Translating Spacetime Intensities of Movie Barcodes.
This article proposes a methodology to identify rhetorical energies that form within the diegetic timeline of movies and to translate these to creative sculpting of spacetime designs. In turn, the narrative manipulation of rhetorical spacetime correlates with that of the audience's emotional states....
| Published in: | Critical Arts: A South-North Journal of Cultural & Media Studies Vol. 39; no. 1/2; pp. 185 - 203 |
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| Format: | Article |
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Taylor & Francis Ltd
Feb-Apr2025
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| Online Access: | View this record in EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=185286852&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 185286852 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 02560046 CTA jtl: Critical Arts: A South-North Journal of Cultural & Media Studies issn: 02560046 maglogo: N pubinfo: dt: Feb-Apr2025 vid: 39 iid: 1/2 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 185286852 10.1080/02560046.2024.2383407 ppf: 185 ppct: 18 formats: fmt: – @attributes: type: T – @attributes: type: P size: 1.1MB tig: atl: Translating Spacetime Intensities of Movie Barcodes. aug: au: Tomaselli, Damien affil: Visual Identity and Design (VIAD), The University of Johannesburg, South Africa The University of Nottingham, Ningbo, China su: Spacetime Dramatic structure Rhythm Translations Aesthetics sug: subj: Spacetime Dramatic structure Rhythm Translations Aesthetics keyword: chronotope dramaturgy film movie barcodes narrative rhetoric rhythm translation studies ab: This article proposes a methodology to identify rhetorical energies that form within the diegetic timeline of movies and to translate these to creative sculpting of spacetime designs. In turn, the narrative manipulation of rhetorical spacetime correlates with that of the audience's emotional states. I achieved this by indexing fictional spacetime with movie barcodes to create a visual compression of sequential film frames into one solid image. I also discuss how patterns of spatial and temporal arrangement within the selected film trailer occurs. I utilise the short form movie trailer The Monster (2020) as my case study as it is a work that I co-directed. Essentially, I propose a method to show how temporal designs of a fictional dimension may be sculpted and intensified. For comparative purposes, I discuss a related study on Alejandro G. Iñárritu's The Revenant (2015). I conclude that the spacetime relationships of the timeline exhibit a propensity to result in dramaturgic tension patterns. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Critical Arts: A South-North Journal of Cultural & Media Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Critical Arts: A South-North Journal of Cultural & Media Studies holder: Taylor & Francis Ltd dt: @attributes: year: 2025 holdings: @attributes: islocal: N |
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