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/lp/de-gruyter/pragmatics-and-cinematic-discourse-TJasVPT1x7
- Publisher
- de Gruyter
- Copyright
- Copyright © 2012 by the
- ISSN
- 1895-6106
- eISSN
- 1898-4436
- DOI
- 10.1515/lpp-2012-0006
- Publisher site
- See Article on Publisher Site
Abstract
Abstract This article introduces what I will call �cinematic discourse� as a potential candidate for pragmatic analysis. Cinematic discourse, as defined here, is not language use in film (dramatic dialogue, fictional conversation, scripted interaction) but the audiovisual discourse of film narration itself: the discourse of mise-en-scene, cinematography, montage, and sound design used by filmmakers in narrating cinematic stories. Cinematic discourse is filmmakers' main expressive vehicle and primary form of communication with, and influence over, film viewers. The article describes how staging, camera work, editing, and other conventional cinematic depictive practices are used to capture attention, shape perspectives, guide perceptions, and steer viewers' inferences about the unfolding narrative. The first half of the article describes different modes of cinematic depiction and their metapragmatic functions; the second discusses issues of cinematic focalization and attention, film co-text as context, cinematic pragmatic acts, audiovisual inferences, film deixis, and camera discourse roles. The goal of the article is to broadly outline some features of cinematic discourse that warrant attention in media pragmatics and to point out challenges that would have to be met in the future in developing pragmatic approaches to investigating these.
Journal
Lodz Papers in Pragmatics – de Gruyter
Published: Jan 1, 2012