Advertisement
| figurative language in movies: How Film Metaphor is Used. Using the Example of Pixar's "Inside Out" Lou Maier, 2018-08-30 Seminar paper from the year 2018 in the subject English Language and Literature Studies - Linguistics, grade: 1,3, http://www.uni-jena.de/, language: English, abstract: The example of the common metaphor “life is a rollercoaster” portrays how even such a simple form of the versatile device communicates a profound message, and helps us, language users, to grasp an abstract concept. Metaphor however, is not just a linguistic device, it is indeed fundamental in everyday life (Lakoff and Johnson 3). Even in the medium of film people make use of the device in the form of filmic metaphor. In all these different instances the omnipresent device allows us to understand and grasp abstract concepts by mapping them to another domain. Pixar’s Inside Out is a valuable example of how metaphor in film is used. The comedy-drama introduces five little figures who are embodiments of the five basic human emotions, and live in a young girls head. In the following paper I will analyse the movie Inside Out as an example of how metaphor in film is used to communicate and clarify human emotions. Prior to the investigation of the device in the computer-animated movie, a theoretical view on metaphor in general will be provided. On this occasion, I will present a rough overview of the conceptual metaphor theory. The concept of metaphor will then be elaborated in reference to film metaphor. Subsequently, I will apply the theoretical basis to the movie Inside Out. Pixar’s use of metaphor in the comedy-drama will be analysed in detail. With the focus on the following emotions: joy, sadness, and anger, I will demonstrate how the metaphor of emotion and brain function is displayed in the movie. Furthermore, the metaphorical visualisation of growing up will be addressed. |
| figurative language in movies: Figurative Language Comprehension Herbert L. Colston, Albert N. Katz, 2004-12-13 Figurative language, such as verbal irony, metaphor, hyperbole, idioms, and other forms is an increasingly important subfield within the empirical study of language comprehension and use. Figurative Language Comprehension: Social and Cultural Influences is an edited scholarly book that ties together recent research concerning the social and cultural influences on figurative language cognition. These influences include gender, cultural differences, economic status, and inter-group effects, among others. The effects these influences have on people's use, comprehension, and even processing of figurative language, comprise the main theme of this volume. No other book offers such a look at the social and cultural influences on a whole family of figurative forms at several levels of cognition. This volume is of great interest to scholars and professionals in the disciplines of social and cognitive psychology, psycholinguistics, and second language acquisition, as well as cognitive and other fields of linguistics where scholars have interests in pragmatics, metaphor, symbol, discourse, and narrative. Some knowledge of the empirical and experimental methods used in language research, as well as some familiarity with theories underlying the use, comprehension, and processing of figurative language would be helpful to readers of this book. |
| figurative language in movies: In God We Trust Jean Shepherd, 2010-10-27 A collection of humorous and nostalgic Americana stories—the beloved, bestselling classics that inspired the movie A Christmas Story Before Garrison Keillor and Spalding Gray there was Jean Shepherd: a master monologist and writer who spun the materials of his all-American childhood into immensely resonant—and utterly hilarious—works of comic art. In God We Trust: All Others Pay Cash represents one of the peaks of his achievement, a compound of irony, affection, and perfect detail that speaks across generations. In God We Trust, Shepherd's wildly witty reunion with his Indiana hometown, disproves the adage “You can never go back.” Bending the ear of Flick, his childhood-buddy-turned-bartender, Shepherd recalls passionately his genuine Red Ryder BB gun, confesses adolescent failure in the arms of Junie Jo Prewitt, and relives a story of man against fish that not even Hemingway could rival. From pop art to the World's Fair, Shepherd's subjects speak with a universal irony and are deeply and unabashedly grounded in American Midwestern life, together rendering a wonderfully nostalgic impression of a more innocent era when life was good, fun was clean, and station wagons roamed the earth. A comic genius who bridged the gap between James Thurber and David Sedaris, Shepherd may have accomplished for Holden, Indiana, what Mark Twain did for Hannibal, Missouri. |
| figurative language in movies: Theory Of Literature: An Introduction Nuriadi, Theory Of Literature: An Introduction merupakan karya Dr. H. Nuriadi, SS., M.Hum |
| figurative language in movies: Multimodal Metaphor Charles Forceville, Eduardo Urios-Aparisi, 2009 Metaphor pervades discourse and may govern how we think and act. But most studies only discuss its verbal varieties. This book examines metaphors drawing on combinations of visuals, language, gestures, sound, and music. Investigated texts include ad |
| figurative language in movies: Understanding Figurative Language Sam Glucksberg, 2001-07-26 This book examines how people understand utterances that are intended figuratively. Traditionally, figurative language such as metaphors and idioms has been considered derivative from more complex than ostensibly straightforward literal language. Glucksberg argues that figurative language involves the same kinds of linguistic and pragmatic operations that are used for ordinary, literal language. Glucksberg's research in this book is concerned with ordinary language: expressions that are used in daily life, including conversations about everyday matters, newspaper and magazine articles, and the media. Metaphor is the major focus of the book. Idioms, however, are also treated comprehensively, as is the theory of conceptual metaphor in the context of how people understand both conventional and novel figurative expressions. A new theory of metaphor comprehension is put forward, and evaluated with respect to competing theories in linguistics and in psychology. The central tenet of the theory is that ordinary conversational metaphors are used to create new concepts and categories. This process is spontaneous and automatic. Metaphor is special only in the sense that these categories get their names from the best examples of the things they represent, and that these categories get their names from the best examples of those categories. Thus, the literal shark can be a metaphor for any vicious and predatory being, from unscrupulous salespeople to a murderous character in The Threepenny Opera. Because the same term, e.g.,shark, is used both for its literal referent and for the metaphorical category, as in My lawyer is a shark, we call it the dual-reference theory. The theory is then extended to two other domains: idioms and conceptual metaphors. The book presents the first comprehensive account of how people use and understand metaphors in everyday life. |
| figurative language in movies: Washing the Brain Andrew Goatly, 2007-01-01 Contemporary metaphor theory has recently begun to address the relation between metaphor, culture and ideology. In this wide-ranging book, Andrew Goatly, using lexical data from his database Metalude, investigates how conceptual metaphor themes construct our thinking and social behaviour in fields as diverse as architecture, engineering, education, genetics, ecology, economics, politics, industrial time-management, medicine, immigration, race, and sex. He argues that metaphor themes are created not only through the universal body but also through cultural experience, so that an apparently universal metaphor such as event-structure as realized in English grammar is, in fact, culturally relative, compared with e.g. the construal of 'cause and effect' in the Algonquin language Blackfoot. Moreover, event-structure as a model is both scientifically reactionary and, as the basis for technological mega-projects, has proved environmentally harmful. Furthermore, the ideologies of early capitalism created or exploited a selection of metaphor themes historically traceable through Hobbes, Hume, Smith, Malthus and Darwin. These metaphorical concepts support neo-Darwinian and neo-conservative ideologies apparent at the beginning of the 21st century, ideologies underpinning our social and environmental crises. The conclusion therefore recommends skepticism of metaphor's reductionist tendencies. |
| figurative language in movies: Using Figurative Language Herbert L. Colston, 2015-11-19 Using Figurative Language presents results from a multidisciplinary decades-long study of figurative language that addresses the question, 'Why don't people just say what they mean?' This research empirically investigates goals speakers or writers have when speaking (writing) figuratively, and concomitantly, meaning effects wrought by figurative language usage. These 'pragmatic effects' arise from many kinds of figurative language including metaphors (e.g. 'This computer is a dinosaur'), verbal irony (e.g. 'Nice place you got here'), idioms (e.g. 'Bite the bullet'), proverbs (e.g. 'Don't put all your eggs in one basket') and others. Reviewed studies explore mechanisms - linguistic, psychological, social and others - underlying pragmatic effects, some traced to basic processes embedded in human sensory, perceptual, embodied, cognitive, social and schematic functioning. The book should interest readers, researchers and scholars in fields beyond psychology, linguistics and philosophy that share interests in figurative language - including language studies, communication, literary criticism, neuroscience, semiotics, rhetoric and anthropology. |
| figurative language in movies: Embodied Metaphors in Film, Television, and Video Games Kathrin Fahlenbrach, 2015-10-05 In cognitive research, metaphors have been shown to help us imagine complex, abstract, or invisible ideas, concepts, or emotions. Contributors to this book argue that metaphors occur not only in language, but in audio visual media well. This is all the more evident in entertainment media, which strategically sell their products by addressing their viewers’ immediate, reflexive understanding through pictures, sounds, and language. This volume applies cognitive metaphor theory (CMT) to film, television, and video games in order to analyze the embodied aesthetics and meanings of those moving images. |
| figurative language in movies: 180 Days: Writing for Sixth Grade Wendy Conklin, 2015-10-01 180 Days of Writing is a fun and effective daily practice workbook designed to help students become better writers. This easy-to-use sixth grade workbook is great for at-home learning or in the classroom. The engaging standards-based writing activities cover grade-level skills with easy to follow instructions and an answer key to quickly assess student understanding. Each week students are guided through the five steps of the writing process: prewriting, drafting, revising, editing, and publishing. Watch student confidence grow while building important writing, grammar, and language skills with independent learning.Parents appreciate the teacher-approved activity books that keep their child engaged and learning. Great for homeschooling, to reinforce learning at school, or prevent learning loss over summer.Teachers rely on the daily practice workbooks to save them valuable time. The ready to implement activities are perfect for daily morning review or homework. The activities can also be used for intervention skill building to address learning gaps. |
| figurative language in movies: Using Figurative Language Herbert L. Colston, 2015-11-19 Gathers decades of research on figurative language cognition to answer the question, 'Why don't people just say what they mean?' |
| figurative language in movies: Movies as Literature Kathryn Stout, 2002 This complete, one-year high school English course uses classic movies on video to introduce and study the elements of literary analysis. Student discussion and composition questions are provided for each of 17 lessons, several of which can also be used to supplement studies in grades 7 and 8. Also included are an extensive teacher s guide/answer key, plot summaries, glossary of literary terms, and final exam. This course will not only give students the tools to appreciate good books more fully, but will equip them with the ability to discern underlying messages in movies rather than simply absorb them. The following 17 movies are covered by Movies As Literature: Shane, Friendly Persuasion, The Quiet Man, Arsenic and Old Lace, The Music Man, E.T. the Extra-Terrestrial, The Maltese Falcon, Rear Window, Emma, The Philadelphia Story, The Journey of August King, To Kill A Mockingbird, A Raisin in the Sun, Raiders of the Lost Ark, Henry V, A Man For All Seasons, and Chariots of Fire. |
| figurative language in movies: An Introduction to Literature Sylvan Barnet, 1997 Gathers examples of literature from Shakespeare to August Wilson, Leo Tolstoy to Amy Tan, and William Blake to Derek Walcott |
| figurative language in movies: Love, Hate and Other Filters Samira Ahmed, 2018-01-16 A NEW YORK TIMES BESTSELLER In this unforgettable debut novel, an Indian-American Muslim teen copes with Islamophobia, cultural divides among peers and parents, and a reality she can neither explain nor escape. Seventeen-year-old Maya Aziz is torn between worlds. There’s the proper one her parents expect for their good Indian daughter: attending a college close to their suburban Chicago home and being paired off with an older Muslim boy her mom deems “suitable.” And then there is the world of her dreams: going to film school and living in New York City—and pursuing a boy she’s known from afar since grade school. But in the aftermath of a horrific crime perpetrated hundreds of miles away, her life is turned upside down. The community she’s known since birth becomes unrecognizable; neighbors and classmates are consumed with fear, bigotry, and hatred. Ultimately, Maya must find the strength within to determine where she truly belongs. |
| figurative language in movies: L2 Figurative Language Teaching Ioannis Galantomos, 2021-09-17 During L2 vocabulary instruction, figurative language frustrates even highly proficient users who find it difficult to cope with non-literal expressions, such as metaphors, metonymies, and idioms. Given that figurative language is closely associated with enhanced L2 communicative competence, this volume brings together theory and teaching applications, shedding light on the comprehension and production of figurative language in a foreign language context. |
| figurative language in movies: How Movies Work Bruce Kawin, 1992-01-17 How Movies Work, offers the filmgoer an engaging and informative guide to the appreciation and evaluation of films. It provides a comprehensive consideration of movies from idea to script, casting, financing, shooting and distribution. Bruce Kawin addresses the book not just to students of film but to any filmgoer curious to know more about the process of the conception and creation of our favorite entertainment and art form. |
| figurative language in movies: Computational Social Networks Hien T. Nguyen, Vaclav Snasel, 2016-07-11 This book constitutes the refereed proceedings of the 5th International Conference on Computational Social Networks, CSoNet 2016, held in Ho Chi Minh City, Vietnam, in August 2016. The 30 revised full papers presented were carefully reviewed and selected from 79 submissions. The papers cover topics on common principles, algorithms and tools that govern social network structures/topologies, functionalities, social interactions, security and privacy, network behaviors, information diffusions and influence, social recommendation systems which are applicable to all types of social networks and social media. |
| figurative language in movies: Resources in Education , 1997 |
| figurative language in movies: Research in Education , 1974 |
| figurative language in movies: Cultivating Picturacy James A. W. Heffernan, 2006 While words typically frame and regulate our experience of art, the study explains how pictures can contest the authority of the words we use to interpret art. |
| figurative language in movies: Seeing the Spectrum Robert Rozema, 2018-08-31 With 1 in 59 children being diagnosd with Autism Spectrum Disorder (ASD), odds are that students on the spectrum will be in many classrooms across every subject area. Seeing the Spectrum argues that seconary English teachers are uniquely equipped to prepare students with autism for future success, both in school and in life. Writing for preservice and current English language arts teachers, Robert Rozema offers practical evidence-based strategies for teaching literature, informational texts, writing classrooms with both neurotypical students and students with autism. The first chapter includes a complete unit plan on Of Mice and Men, illustrating how curriculum focused on commonly taught literary works can be reimagined to accommodate the needs and draw on the strengths of students on the spectrum. Book Features: in-depth treatment of historical and contemporary research on autism, including original case studies of adolescents with Autism Spectrum Disorder; and specific, ready-to-use strategies for teaching literature, informational texts, writing, and communication in the inclusive English language arts classroom; |
| figurative language in movies: Figurative Language and Thought Albert N. Katz Professor of Psychology University of Western Ontario, Cristina Cacciari Professor of Psychology University of Bologna, Santa Cruz Raymond W. Gibbs Jr. Professor of Psychology University of California, College Park Mark Turner Jr. Professor of English Language and Literature University of Maryland, 1998-08-12 Our understanding of the nature and processing of figurative language is central to several important issues in cognitive science, including the relationship of language and thought, how we process language, and how we comprehend abstract meaning. Over the past fifteen years, traditional approaches to these issues have been challenged by experimental psychologists, linguists, and other cognitive scientists interested in the structures of the mind and the processes that operate on them. In Figurative Language and Thought, internationally recognized experts in the field of figurative language, Albert Katz, Mark Turner, Raymond W. Gibbs Jr., and Cristina Cacciari, provide a coherent and focused debate on the subject. The book's authors discuss a variety of fundamental questions, including: What can figures of speech tell us about the structure of the conceptual system? If and how should we distinguish the literal from the nonliteral in our theories of language and thought? Are we primarily figurative thinkers and consequently figurative language users or the other way around? Why do we prefer to speak metaphorically in everyday conversation, when literal options may be available for use? Is metaphor the only vehicle through which we can understand abstract concepts? What role do cultural and social factors play in our comprehension of figurative language? These and related questions are raised and argued in an integrative look at the role of nonliteral language in cognition. This volume, a part of Counterpoints series, will be thought-provoking reading for a wide range of cognitive psychologists, linguists, and philosophers. |
| figurative language in movies: Film William H. Phillips, 2009-01-02 This clear, well illustrated text takes the reader through the basics of film analysis, drawing on a wide range of film for discussion. Questions of genre and the contexts and meanings of film are considered. |
| figurative language in movies: The Story Of An Hour Kate Chopin, 2014-04-22 Mrs. Louise Mallard, afflicted with a heart condition, reflects on the death of her husband from the safety of her locked room. Originally published in Vogue magazine, “The Story of an Hour” was retitled as “The Dream of an Hour,” when it was published amid much controversy under its new title a year later in St. Louis Life. “The Story of an Hour” was adapted to film in The Joy That Kills by director Tina Rathbone, which was part of a PBS anthology called American Playhouse. HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library. |
| figurative language in movies: Film Art David Bordwell, Kristin Thompson, 2004 Film is an art form with a language and an aesthetic all its own, and since 1979 David Bordwell and Kristin Thompson's Film Art has been the most repected introduction to the art and analysis of cinema. In the new seventh edition, Film Art continues its commitment to providing the best introduction to the fundamentals of serious film study - images throughout the book are collected from actual film frames, not from production stills or advertising photos - but the book has been extensively re-designed to improve readability and teachability. Additionally, the text can be packaged with the award-winning Film, Form, and Culture CD-ROM, and is supported by an extensive Instructor's Manual and text-specific website. |
| figurative language in movies: Weimar Cinema, Embodiment, and Historicity Mason Kamana Allred, 2017-01-20 In its retrieval and (re)construction, the past has become interwoven with the images and structure of cinema. Not only have mass media—especially film and television—shaped the content of memories and histories, but they have also shaped their very form. Combining historicization with close readings of German director Ernst Lubitsch's historical films, this book focuses on an early turning point in this development, exploring how the medium of film shaped modern historical experience and understanding—how it moved embodied audiences through moving images. |
| figurative language in movies: The Elements of Figurative Language Bradford T. Stull, 2001 The Elements of Figurative Languageexplores figurative language and its central place in human life. The focus is on four figures or tropes: metaphor, analogy, synecdoche, and irony. The opening chapter discusses these tropes in general and, in the following chapters, the book provides extensive study of these tropes relative to five key categories in human life: race, class, gender, the environment, and war. Readers are provided with analyses of the ways in which tropes work in particular texts, as well as the opportunity to engage in both analysis and composition of trope-laden discourse. For those interested in improving their critical thinking, reading and writing |
| figurative language in movies: Fitzgerald and the Influence of Film Gautam Kundu, 2007-10-08 This work explores the many ways in which the developing film industry of the early twentieth century influenced the writings of F. Scott Fitzgerald, focusing specifically on his novels This Side of Paradise, The Great Gatsby, Tender Is the Night, and the incomplete The Last Tycoon. The Beautiful and the Damned is also discussed briefly. Early chapters examine Fitzgerald's literary adaptation of visual film techniques (pans, freeze frames, slow motion) and aural cinematic concepts (sound effects, diegetic sound) within his most popular novels. The final chapter summarizes the effect such techniques had in augmenting and defining Fitzgerald's unique literary style. |
| figurative language in movies: Eliseo Subiela in Life and Cinema Nancy J. Membrez, 2022-02-25 Audiences never have a lukewarm opinion of a Subiela film. They either love it passionately or hate it profoundly. That Eliseo Subiela (Buenos Aires, 1944-2016), an original and sensitive thinker, survived, and indeed throve in economically challenged Argentina while garnering more accolades abroad than in his own country, is a tribute to his grit, intelligence, imagination and persistence of vision. With an astounding list of prizes and honors, he was a world-class auteur. Even when he was making a TV commercial, his surreal style and poetic sensibility were unmistakable. This book represents the culmination of 20 years of research and personal correspondence with Eliseo Subiela. Through ten scholarly studies and five interviews, it sheds light on his life, esthetics, obsessions, struggles with madness, and, of course, his films. It addresses his earlier career in advertising, lifelong artistic influences, screenwriting techniques, critical reactions to his films, and what Subiela's example has to offer aspiring filmmakers, especially those in Latin America. |
| figurative language in movies: Blumenfeld's Dictionary of Acting and Show Business Robert Blumenfeld, 2009 The first complete entertainment dictionary to be published, this work contains entries on acting in film, professionalism in acting, verse technique, and more. An invaluable index of subjects by category covers 17 topics, including lighting, commercials, contracts, drama, professional organizations, the media, and theater. |
| figurative language in movies: Traditional Monster Imagery in Manga, Anime and Japanese Cinema Zília Papp, 2010-10-29 Traditional Monster Imagery in Manga, Anime and Japanese Cinema builds on the earlier volume Anime and its Roots in Early Japanese Monster Art, that aimed to position contemporary Japanese animation within a wider art historical context by tracing the development of monster representations in Edo- and Meiji-period art works and post-war visual media. While the previous volume concentrated on modern media representations, this work focuses on how Western art historical concepts and methodology might be adapted when considering non-Western works, introducing traditional monster art in more detail, while also maintaining its links to post-war animation, sequential art and Japanese cinema. The book aims at a general readership interested in Japanese art and media as well as graduate students who might be searching for a research model within the fields of Animation Studies, Media Studies or Visual Communication Design. |
| figurative language in movies: Dreams of Chaos, Visions of Order James Peterson, 1994 Addresses the question of how--and to what extent--viewers can make sense of American avant-garde films. Peterson examines the implicit assumptions of other scholars, advocates an alternative to dominant approaches to the avant-garde cinema, and questions some long-standing cliches about the history of the avant garde. Includes numerous (but tiny) photographs. Paper edition (unseen), $19.95. Annotation copyright by Book News, Inc., Portland, OR |
| figurative language in movies: Figurative Language and Thought Albert N. Katz, Cristina Cacciari, Raymond W. Gibbs Jr., Mark Turner, 1998-09-10 Our understanding of the nature and processing of figurative language is central to several important issues in cognitive science, including the relationship of language and thought, how we process language, and how we comprehend abstract meaning. Over the past fifteen years, traditional approaches to these issues have been challenged by experimental psychologists, linguists, and other cognitive scientists interested in the structures of the mind and the processes that operate on them. In Figurative Language and Thought, internationally recognized experts in the field of figurative language, Albert Katz, Mark Turner, Raymond W. Gibbs Jr., and Cristina Cacciari, provide a coherent and focused debate on the subject. The book's authors discuss a variety of fundamental questions, including: What can figures of speech tell us about the structure of the conceptual system? If and how should we distinguish the literal from the nonliteral in our theories of language and thought? Are we primarily figurative thinkers and consequently figurative language users or the other way around? Why do we prefer to speak metaphorically in everyday conversation, when literal options may be available for use? Is metaphor the only vehicle through which we can understand abstract concepts? What role do cultural and social factors play in our comprehension of figurative language? These and related questions are raised and argued in an integrative look at the role of nonliteral language in cognition. This volume, a part of Counterpoints series, will be thought-provoking reading for a wide range of cognitive psychologists, linguists, and philosophers. |
| figurative language in movies: Pie (Scholastic Gold) Sarah Weeks, 2011-10-01 From the award-winning author of SO B. IT, a story about family, friendship, and...pie! When Alice's Aunt Polly, the Pie Queen of Ipswitch, passes away, she takes with her the secret to her world-famous pie-crust recipe. Or does she? In her will, Polly leaves the recipe to her extraordinarily fat, remarkably disagreeable cat, Lardo . . . and then leaves Lardo in the care of Alice.Suddenly, the whole town is wondering how you leave a recipe to a cat. Everyone wants to be the next big pie-contest winner, and it's making them pie-crazy. It's up to Alice and her friend Charlie to put the pieces together and discover the not-so-secret recipe for happiness: Friendship. Family. And the pleasure of donig something for the right reason. With Pie, acclaimed author Sarah Weeks has baked up a sweet and satisfying delight, as inviting as warm pie on a cold day. You'll enjoy every last bite. |
| figurative language in movies: How Words Mean Vyvyan Evans, 2009-09-10 How Words Mean introduces a new approach to the role of words and other linguistic units in the construction of meaning. It does so by addressing the interaction between non-linguistic concepts and the meanings encoded in language. It develops an account of how words are understood when we produce and hear language in situated contexts of use. It proposes two theoretical constructs, the lexical concept and the cognitive model. These are central to the accounts of lexicalrepresentation and meaning construction developed, giving rise to the Theory of Lexical Concepts and Cognitive Models (or LCCM Theory).Vyvyan Evans integrates and advances recent developments in cognitive science, particularly in cognitive linguistics and cognitive psychology. He builds a framework for the understanding and analysis of meaning that is at once descriptively adequate and psychologically plausible. In so doing he also addresses current issues in lexical semantics and semantic compositionality, polysemy, figurative language, and the semantics of time and space, and writes in a way that will be accessible tostudents of linguistics and cognitive science at advanced undergraduate level and above. |
| figurative language in movies: Film Dialogue Jeff Jaeckle, 2013-07-09 Film Dialogue is the first anthology in film studies devoted to the topic of language in cinema, bringing together leading and emerging scholars to discuss the aesthetic, narrative, and ideological dimensions of film speech that have largely gone unappreciated and unheard. Consisting of thirteen essays divided into three sections: genre, auteur theory, and cultural representation, Film Dialogue revisits and reconfigures several of the most established topics in film studies in an effort to persuade readers that spectators are more accurately described as audiences, that the gaze has its equal in eavesdropping, and that images are best understood and appreciated through their interactions with words. Including an introduction that outlines a methodology of film dialogue study and adopting an accessible prose style throughout, Film Dialogue is a welcome addition to ongoing debates about the place, value, and purpose of language in cinema. |
| figurative language in movies: Language Exploration and Awareness Larry Andrews, 2013-01-11 Language Exploration and Awareness: A Resource Book for Teachers, Third Edition shows English teachers how they can expand their curriculum beyond the traditional emphases on grammar and syntax, to help their students learn about many aspects of the English language, including general semantics, regional and social dialects, syntax, spelling, history of the English language, social language conventions, lexicography, and word origins. Clear, practical, and reader-friendly, the text reviews basic aspects of English language study in classrooms, then illustrates how teachers can create student-centered, inquiry-oriented activities for the learners in their classrooms. Written from a sociocultural perspective, this text stresses the uses of authentic language as it is used by real people for real purposes in diverse social contexts. Changes in the Third Edition are: all chapters have been thoroughly updated to address new developments in the world and in the field of English and language arts education; the chapters in Section II include new Student Explorations - activities designed by pre- and in-service teachers that readers can use with students in their classrooms; and new in this edition are references throughout several chapters to Web sites that instructors and students will find useful. This text is intended as text for undergraduate and master's level English language arts courses on the pedagogies of language teaching, and as an introduction to language or introduction to linguistics courses - particularly those emphasizing language study from a sociocultural perspective; and for courses preparing teachers of English as a new language. The text is also intended as a resource for current classroom teachers. |
| figurative language in movies: Theory of Literature Rene Wellek, Austin Warren, 2024-04-02 Theory of Literature was born from the collaboration of Ren Wellek, a Vienna-born student of Prague School linguistics, and Austin Warren, an independently minded old New Critic. Unlike many other textbooks of its era, however, this classic kowtows to no dogma and toes no party line. Wellek and Warren looked at literature as both a social product--influenced by politics, economics, etc.--as well as a self-contained system of formal structures. Incorporating examples from Aristotle to Coleridge, written in clear, uncondescending prose, Theory of Literature is a work which, especially in its suspicion of simplistic explanations and its distrust of received wisdom, remains extremely relevant to the study of literature today. |
| figurative language in movies: Dialogue Robert McKee, 2016-07-12 The long-awaited follow-up to the perennially bestselling writers' guide Story, from the most sought-after expert in the art of storytelling. Robert McKee's popular writing workshops have earned him an international reputation. The list of alumni with Oscars runs off the page. The cornerstone of his program is his singular book, Story, which has defined how we talk about the art of story creation. Now, in Dialogue, McKee offers the same in-depth analysis for how characters speak on the screen, on the stage, and on the page in believable and engaging ways. From Macbeth to Breaking Bad, McKee deconstructs key scenes to illustrate the strategies and techniques of dialogue. Dialogue applies a framework of incisive thinking to instruct the prospective writer on how to craft artful, impactful speech. Famous McKee alumni include Peter Jackson, Jane Campion, Geoffrey Rush, Paul Haggis, the writing team for Pixar, and many others. |
| figurative language in movies: Cinematic Metaphor in Perspective Sarah Greifenstein, Dorothea Horst, Thomas Scherer, Christina Schmitt, Hermann Kappelhoff, Cornelia Müller, 2018-10-08 Over centuries, scholars have explored how metaphor contributes to thought, language, culture. This collection of essays reflects on Müller, Kappelhoff, and colleagues’ transdisciplinary (film studies and linguistics) approach formulated in Cinematic Metaphor: Experience – Affectivity – Temporality. The key concept of cinematic metaphor opens up reflections on metaphor as a form of embodied meaning-making in human life across disciplines. The book documents collaborative work, reflecting intense, sometimes controversial, discussions across disciplinary boundaries. In this edited volume, renowned authors explore how exposure to the framework of Cinematic Metaphor inspires their views of metaphor in film and of metaphor theory and analysis more generally. Contributions include explorations from the point of view of applied linguistics (Lynne Cameron), cognitive linguistics (Alan Cienki), media studies (Kathrin Fahlenbrach), media history (Michael Wedel), philosophy (Anne Eusterschulte), and psychology (Raymond W. Gibbs, Jr.). |
FIGURATIVE Definition & Meaning - Merriam-Webster
The meaning of FIGURATIVE is representing by a figure or resemblance : emblematic. How to use figurative in a sentence. Did you know?
FIGURATIVE | English meaning - Cambridge Dictionary
FIGURATIVE definition: 1. (of words and phrases) used not with their basic meaning but with a more imaginative meaning, in…. Learn more.
Figurative Language - Definition and Examples - LitCharts
Figurative language is language that contains or uses figures of speech. When people use the term "figurative language," however, they often do so in a slightly narrower way.
20 Types of Figurative Language (Examples + Anchor Charts)
Figurative language is a powerful tool for writers and speakers. In this ultimate guide, we’ll explore what figurative language is, break down its essential elements, and examine 20 specific types …
Figurative Language - Examples and Definition - Literary Devices
Figurative language uses figures of speech to be more effective, persuasive, and impactful. Figures of speech such as metaphors, similes, and allusions go beyond the literal meanings of …
Figurative - definition of figurative by The Free Dictionary
1. of the nature of or involving a figure of speech, esp. a metaphor; metaphorical; not literal. 2. characterized by or abounding in figures of speech. 3. representing by means of a figure or …
FIGURATIVE definition and meaning | Collins English Dictionary
If you use a word or expression in a figurative sense, you use it with a more abstract or imaginative meaning than its ordinary literal one.
FIGURATIVE Definition & Meaning - Dictionary.com
Figurative definition: of the nature of or involving a figure of speech, especially a metaphor; metaphorical and not literal.. See examples of FIGURATIVE used in a sentence.
Figurative - Definition, Meaning & Synonyms - Vocabulary.com
Any figure of speech — a statement or phrase not intended to be understood literally — is figurative. You say your hands are frozen, or you are so hungry you could eat a horse. That's …
Figurative Language – Definition and Examples - Proofed
Apr 13, 2023 · Figurative language is language that uses words or expressions with a meaning that is different from the literal interpretation. It is often used to create imagery, evoke emotion, …
FIGURATIVE Definition & Meaning - Merriam-Webster
The meaning of FIGURATIVE is representing by a figure or resemblance : emblematic. How to use figurative in a sentence. Did you know?
FIGURATIVE | English meaning - Cambridge Dictionary
FIGURATIVE definition: 1. (of words and phrases) used not with their basic meaning but with a more imaginative meaning, in…. Learn more.
Figurative Language - Definition and Examples - LitCharts
Figurative language is language that contains or uses figures of speech. When people use the term "figurative language," however, they often do so in a slightly narrower way.
20 Types of Figurative Language (Examples + Anchor Charts)
Figurative language is a powerful tool for writers and speakers. In this ultimate guide, we’ll explore what figurative language is, break down its essential elements, and examine 20 specific types …
Figurative Language - Examples and Definition - Literary Devices
Figurative language uses figures of speech to be more effective, persuasive, and impactful. Figures of speech such as metaphors, similes, and allusions go beyond the literal meanings of …
Figurative - definition of figurative by The Free Dictionary
1. of the nature of or involving a figure of speech, esp. a metaphor; metaphorical; not literal. 2. characterized by or abounding in figures of speech. 3. representing by means of a figure or …
FIGURATIVE definition and meaning | Collins English Dictionary
If you use a word or expression in a figurative sense, you use it with a more abstract or imaginative meaning than its ordinary literal one.
FIGURATIVE Definition & Meaning - Dictionary.com
Figurative definition: of the nature of or involving a figure of speech, especially a metaphor; metaphorical and not literal.. See examples of FIGURATIVE used in a sentence.
Figurative - Definition, Meaning & Synonyms - Vocabulary.com
Any figure of speech — a statement or phrase not intended to be understood literally — is figurative. You say your hands are frozen, or you are so hungry you could eat a horse. That's …
Figurative Language – Definition and Examples - Proofed
Apr 13, 2023 · Figurative language is language that uses words or expressions with a meaning that is different from the literal interpretation. It is often used to create imagery, evoke emotion, …
