Transmedijalne i kulturalno-identitetske strategije filmskih reprezentacija (original) (raw)

2020

Abstract

The topic of the doctoral thesis is transmedia (semiotics and narratology) cultural-identity strategies of film representations. Drawing conclusions from the foundation of film discourse perceived as a symbolic-material practice, which reflects culture and is a symptom of society, the thesis encompasses the analysis of the metalanguage employed as a marking system of the chosen films: Night on Earth (1991) by Jim Jarmusch, The Joy Luck Club (1993) by Wayne Wang, Lost in Translation (2003) by Sofia Coppola, Adam and Paul (2004) by Lenny Abrahamson, The Visitor (2007) by Tom McCarthy, Blue Jasmine (2013) by Woody Allen, and I, Daniel Blake (2016) by Ken Loach. Bearing in mind the shift from structural narratology to the postclassical narratology the analysis perceives film representations as multimodal ways of identity formation through the narrative, i.e. the film discourse. Due to the interdisciplinary nature of the doctoral thesis, methodologically and theoretically it comprises of transmedial narratology as one of the postclassical narratology directions. As such, it combines narratology and social semiotics together with the subjetive and anti- essentialist theories of identity. Accordingly, the analysis of the research focuses on exploring the ideological functions of film representations; Thus deals with questioning the ways and strategies which assist in constructing the meanings of film representations in the realm of relevant theories and concepts. Therefore, the analytical approach relies on the basic hypotheses as follows: Film is a hybrid art form packed with semiotic connotations; Transmediality is the inseparable trait of film as a medium; Narrative organization of the film is a matter of social semiotics and the discursive modes and their relationships - they are a constitutive part of a critical multimodal visual literacy of the 21st century. As such, it reflects the awareness of a constructive nature of film representations, as well as the knowledge about social, cultural and political context in which such film representations are produced. Along with already mentioned transmedia narratology, some other comparative film research approaches have been employed in relation to multimodal social semiotics methodological research analysis.

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