Storytelling : time, space, intervals

Field	Value	Language
dc.contributor.author	van Eenoo, Cedric
dc.date.accessioned	2018-05-07T00:31:47Z
dc.date.available	2020-05-25T19:18:57Z
dc.date.issued	2018
dc.identifier.uri	http://hdl.handle.net/10453/124122
dc.description	University of Technology Sydney. Faculty of Arts and Social Sciences.	en_AU
dc.description.abstract	Storytelling is regarded as a key concept of art. Narratives are generally studied in their structure, articulation, and development in time. A common cinematic paradigm is the cause-and-effect structure, composed of a selection of key scenes that are connected in a certain order by their meaning. This study explores the elements of the story that are not included in this selection, because they do not serve the logical understanding of the movie and are commonly considered intervals with marginal significance to the plot. By operating with these segments only, and excluding the typical sequences with a functional sense, a new dimension of storytelling emerges. Intervals can create an unspoken language, with the instruments of cinematography, rhythm and sound as alternate characters of the story. This process distorts the perception of time and space. But in that approach, time exists in space, allowing contemplation to become the interface between the audience and the film.	en_AU
dc.format	Thesis (PhD)
dc.language.iso	en_AU	en_AU
dc.relation	https://opus.lib.uts.edu.au/bitstream/10453/124122/7/02whole.pdf
dc.rights	The author owns the copyright in this thesis including all reproduction and reuse rights for the work. The work may not be altered without the permission of the copyright owner. Attribution is essential when quoting or paraphrasing from this thesis.
dc.rights	au.edu.uts.lib/ppc
dc.rights	info:eu-repo/semantics/openAccess
dc.title	Storytelling : time, space, intervals	en_AU
dc.type	Thesis	en_AU
utslib.copyright.status	open_access

Abstract:

Storytelling is regarded as a key concept of art. Narratives are generally studied in their structure, articulation, and development in time. A common cinematic paradigm is the cause-and-effect structure, composed of a selection of key scenes that are connected in a certain order by their meaning. This study explores the elements of the story that are not included in this selection, because they do not serve the logical understanding of the movie and are commonly considered intervals with marginal significance to the plot. By operating with these segments only, and excluding the typical sequences with a functional sense, a new dimension of storytelling emerges. Intervals can create an unspoken language, with the instruments of cinematography, rhythm and sound as alternate characters of the story. This process distorts the perception of time and space. But in that approach, time exists in space, allowing contemplation to become the interface between the audience and the film.

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http://hdl.handle.net/10453/124122