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Cinematic metaphor in perspective: reflections on a transdisciplinary framework Cinepoetics ;, v. 5./ edited by Sarah Greifenstein, Dorothea Horst, Thomas Scherer, Christina Schmitt, Hermann Kappelhoff, and Cornelia Müller.
No full textIncludes bibliographical references and indexes.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.).Greifenstein, Sarah / Horst, Dorothea / Scherer, Thomas / Schmitt, Christina / Kappelhoff, Hermann / Müller, Cornelia -- Cameron, Lynne -- Wedel, Michael -- Cienki, Alan -- Fahlenbrach, Kathrin -- Eusterschulte, Anne -- Gibbs, Raymond W. -- Frontmatter -- Acknowledgements -- Contents -- Introduction / From Metaphor To Metaphorizing: How Cinematic Metaphor Opens Up Metaphor Studies / Murnau And Metaphor: From Cinematic Expressionism To Cinematic Expressive Movements / Insights For Linguistics And Gesture Studies From Film Studies: A View From Researching Cinematic Metaphor / Moving Metaphors: Affects, Movements, And Embodied Metaphors In Cinema / Actio Per Distans: Blumenberg'S Metaphorology And Hitchcock'S Rear Window / Our Metaphorical Experiences Of Film / Name Index -- Subject Index -- About The Authors -- About The Editors.1 online resource (158 pages
Liberal-democratic we-feelings? Media Aesthetic Affect Poetics for the Redesign of the Common
No full textAusgangspunkt meiner Arbeit ist die Frage, auf welche Weise Wir-Gefühle in den liberal- demokratischen Ländern wie der BRD und ROK mobilisiert und modelliert werden können. Die vorliegende Arbeit setzt an einem ganz spezifischen Punkt an, dort, wo erstens, nach Rancière, die Frage der Gemeinschaft, die neben Freiheit und Individuum als ein wichtiger Wert der Demokratie ist, bislang zu wenig diskutiert wurde, und zweitens, nach Kappelhoff, das Kino der paradigmatische Ort ist, wo die Frage der Gemeinschaft und Wir-Gefühle unendlich wiederholt in relationalen Verhältnissen zwischen der Welt, audiovisuellen Bilder und Zuschauer(-körper) entwickelt und modelliert werden kann. Die westdeutschen und südkoreanischen Liebesfilme aus den Jahren 1950–1961 boten sich dabei als äußerst pas- sender Forschungsgegenstand an, da an ihnen der intensive Subjektivierungsprozess des Wir beobachtet wurde, der die eigene Nationalidee und -identität in der Ausrichtung nach dem liberal-demokratisch orientierten Wir-Bild unendlich wiederholt aneignet, imaginiert und modelliert.
Vor diesem Hintergrund widmete sich die vorliegende Arbeit anhand der Liebesfilme aus den Jahren 1950–1961 in der BRD und ROK exemplarisch zu untersuchen, in welcher kul- tur- und geschichtsspezifischen Affektpoetiken das eigene Wir-Bild und Wir-Gefühle von sich und für sich modelliert werden konnten. So wird in der vorliegenden Arbeit zunächst ein theoretischer Ansatz entwickelt, der greifbar macht, auf welche Weise Wir-Gestaltung und Wir-Gefühle im Kino modelliert werden können. Und die Verhältnisse der liberal-demokratischen Wir-Gestaltung und Wir-Gefühle werden insbesondere durch die ausführliche Filmanalyse der sechs ausgewählten Liebesfilme festgestellt und angesichts dieser Analysenergebnisse wird die Kultur- und Geschichtsspezifik der Affektpoetik klar herausgestellt.
Auf diesem Weg war das Gemeinsame die heuristische Denkfigur, die uns die relationalen Verhältnisse, die unendlich zu verändernde Kultur und Geschichte und die gleichberechtigt von Einzelnen aufzuteilende Ganzheit zusammen als ein konstruktiven Prozess aufgreifen lässt. So wurde das Konzept der Ausdrucksbewegung als die adäquate Analysenmethode angewandt, die das Zusammenwirken des Gemeinsamen – der kinematografischen Kommunikation, der kultur- und geschichtsspezifischen Ausdrucksformen und der (Moral- /Wert-/Sinn-/Erfahrungs-)Horizont – konkret als spezifische – qualitativ konkretisiert zu er- fahrende -sinnliche Einheit erfassen lässt.
Schließlich dienen die filmanalytisch geführten Patterns der affektpoetischen Ausdrucksfor- men der Wir-Gestaltung und Wir-Gefühle als Leitfaden der Reflexion darüber, inwieweit die allgemeine liberal-demokratische Idee des Zusammenlebens angeeignet und entwickelt werden konnte. Und die komparatistisch herauskristallisierte jeweilige Gestaltungsformen der Wir-Gestaltung und Wir-Gefühle erweisen sich als kultur- und geschichtsspezifische Ex- pressivität, die das bestimmte Eigenbild als Wir imaginiert und es gemeinsam als „attraktiv“ erfährt und weiterhin so selbst aneignet und denkt.My work begins with the question of how we-feelings can be mobilized and modeled in the liberal-democratic countries like the FRG and ROK. The present work starts at a very specific point, where on one hand, according to Rancière, the question of community, which is an important value of democracy alongside freedom and the individual, has not been discussed enough so far, and on the other hand, according to Kappelhoff, that cinema is the paradigmatic place where the question of community and we-feelings can be repeatedly developed and modeled in relational relationships between the world, audiovisual images and viewers. The West German and South Korean movies of a love story from the years 1950-1961 offered themselves as extremely suitable object of research, because the pro- cess of collective subjectification as a specific we by imagining, creating and acculturating oneself according to the liberal-democratic ideals and also the own national ideas is intensively perceived during this time.
On the basis of the analysis of the movies of a love story from the years 1950-1961 in the FRG and ROK the present work aims to examine the culture- and history-specific poetics of affect which arrange and design the way of thinking and feeling as a we. On this way the present work develops a theoretical framework for designing and acculturating oneself as we in the cinematographic communication and also defines the specific forms of we-formation and we-feelings in the cinema which are exemplarily derived from the detailed film analysis of the six selected West German and South Korean movies. In the end the cultural and historical specifics of affect poetics are clearly detected.
On this way of investigation the concept of the common was the heuristic figure that allows us to think and explain the entanglement of the multifaceted relational relationships, the infinitely changing culture and history and the wholeness (re-)divided by individuals itself as a constructive becoming process of we. In this sense the concept of the expression move- ment is used as the adequate analytical method that enables to analyze the specific sense as an qualitatively experienced/sensed/concretized unity that arises from the complex inter- relation of the common - cinematographic communication, culture and history-specific forms of expression and the horizons (of moral, value, meaning, experience).
Finally, the comparatively derived specific patterns of affect-poetics are proved as culturally and historically specific forms of designing the own image of we pertaining to the specific fashionable ideal of we-formation. And the each crystallized form of we-formation and we- feelings turns out to be a culture- and history-specific expressivity that imagines a certain contingent self-image of we as an „attractive“ one and enables the spectator to experience himself as a member of this specific kind of we by experiencing some consensual moments as an approval and also appropriating himself for this idealized image of we in the common process of becoming in the cinematographic communication
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
Kognition und Reflexion: Zur Theorie filmischen Denkens
Get PDFThe discourse of sound motion pictures has evolved to become a cultural practice through which people attempt to grasp their subjective cognitive reality as part of a shared world. By developing a poetological theory of filmic thinking and the “cinematic metaphor,” this study shows how filmic images generate an understanding and thinking that introduces new differences and modalities into this shared reality
Filmische Seitenblicke
Get PDFDid 1968 fail? The question is misstated. For the significance and consequences of ’68 cannot be captured in a coherent narrative. That year appears as the point of culmination of a set of highly heterogeneous cultural, social, and political phenomena. Cinema, with its classics and gems to be (re-)discovered, proves to be a kaleidoscope that lets us perceive the fractures and contradictions of ’68
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
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