Endre søk
RefereraExporteraLink to record
Permanent link

Direct link
Referera
Referensformat
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annet format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annet språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf
Skuggan av ett leende: om filmisk ironi och den ironiska berättelsen
Stockholms universitet, Humanistiska fakulteten.
1995 (svensk)Doktoravhandling, monografi (Annet vitenskapelig)Alternativ tittel
Shadow of a smile : filmic irony and the ironic narrative (engelsk)
Abstract [en]

In Shadow of a Smile the discourse of irony is brought to a new Field: irony as visual narrative devices and as interactions of verbal and visual elements in film and TV structures. The discussion, which puts forward several new definitions, is based throughout on examples from a central core of cinematic material, e.g. Chaplin, Eisenstein, Hitchcock, Renoir and Welles.

The dissertation is divided into four major pans. The first pan deals with the traditional ideas about and definitions of irony as a concept. The basic meanings of the word are treated from the theoretical perspectives of both communication and reception.

The second part, “Ironic Structures”, brings forward three specific criteria through which the language can be identified as ironic: the “ironic denial”, the “differential” and the “distancing” criterion. These criteria are presented through examples as being fundamental for irony as an event in language and in linguistic play. It is shown how a corresponding process takes place in the visual structure of cinematic language, mainly through the montage, and how these above mentioned criteria can be applied to film structures that lack verbal elements. Furthermore, this part deals with how the selective code that comes into use in ironic descriptions also functions in narratives, generating tangents of events. Partially new definitions are introduced; of e.g. sarcasm and satire, visual and filmic irony.

The third part focuses on irony as a device. It presents and introduces a division into twenty-eight devices, from word games and puns to more clearly ironic devices of narration. In the fourth part the earlier analyses are applied to Stanley Kubrick’s film Barry Lyndon, the adaption from 1975 of Thackeray’s novel.

Throughout the dissertation it is made clear that irony is mainly a linguistic event: verbal, visual or verbo-visual. It arises as result of particular devices of, or approaches to, either the phrasing, or the construction of the image or the transition between images. This dissertation’s aim is to develop the terminological tools for describing and interpreting this process, and to clarify what is meant by irony in narrative fiction, especially in films.

sted, utgiver, år, opplag, sider
Stockholm: Fischer , 1995. , s. 455
Serie
Filmvetenskapligt bibliotek, ISSN 99-1999240-2 ; 2
Emneord [sv]
Ironi, Film, Berättarkonst
HSV kategori
Identifikatorer
URN: urn:nbn:se:su:diva-155511Libris ID: 7596491ISBN: 91-7054-738-6 (tryckt)OAI: oai:DiVA.org:su-155511DiVA, id: diva2:1200739
Disputas
1995-09-29, Bio 2, Filmhuset, Stockholm, 10:00
Merknad

Sammanfattning på engelska med titeln

Tilgjengelig fra: 2018-04-24 Laget: 2018-04-24 Sist oppdatert: 2019-08-14bibliografisk kontrollert

Open Access i DiVA

Fulltekst mangler i DiVA

Andre lenker

PDF (Not accessible to users outside Sweden)
Av organisasjonen

Søk utenfor DiVA

GoogleGoogle Scholar

isbn
urn-nbn

Altmetric

isbn
urn-nbn
Totalt: 65 treff
RefereraExporteraLink to record
Permanent link

Direct link
Referera
Referensformat
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Annet format
Fler format
Språk
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Annet språk
Fler språk
Utmatningsformat
  • html
  • text
  • asciidoc
  • rtf