Discourse of Italian Cinema and Beyond

Let Cinema Speak

Inbunden, Engelska, 2011

Av Roberta Piazza, UK) Piazza, Roberta (University of Sussex, Dan McIntyre

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Roberta Piazza's book is a linguistic investigation of the dialogue of Italian cinema covering a selection of films from the 1950s to the present day. It looks at how speech is dealt with in studies of the cinema and tackles the lack of engagement with dialogue in film studies. It explores the representation of discourse in cinema -- the way particular manifestations of verbal interaction are reproduced in film. Whereas representation generally refers to the language used in texts to assign meaning to a group and its social practices, here discourse representation more directly refers to the relationship between real-life and cinematic discourse. Piazza analyses how fictional dialogue reinterprets authentic interaction in order to construe particular meanings. Beginning by exploring the relationship between discourse and genre, the second half of the book takes a topic-based approach and reflects on the themes of narrative and identity. The analysis carried out takes on board the multi-semiotic and multimodal components of film discourse. The book uses also uses concepts and methodologies from pragmatics, conversation analysis and discourse analysis.

Produktinformation

Utgivningsdatum2011-02-14
Mått157 x 234 x 25 mm
Vikt545 g
FormatInbunden
SpråkEngelska
SerieAdvances in Stylistics
Antal sidor272
FörlagContinuum Publishing Corporation
ISBN9781441136978

Tillhör följande kategorier

Språk: referensverk och allmänt inom Sprak och ordbocker
Film inom Kultur
Språkvetenskap och lingvistik inom Sprak och ordbocker

1. Background and Introduction; 2. The verbal-visual interrelation in cinema; 3. The focus on the representation of conflict in film; 4. Confrontational discourse in comedy and the disengagement of dramatic talk. 5. Spaghetti and American westerns: textual conflict marking the clash between opposing masculinities; 6. The struggle for narrative autonomy in Antonioni's When Love Fails; 7. The discourse of identity and confrontation in Mohsen Melliti's Me, the Other; 8. Conclusions; 9. References and filmography; Index.

The Discourse of Italian Cinema and Beyond joins a growing body of work that is taking forward work in stylistics by expanding not only the subject of analysis, from poetry and prose fiction to film and television, but also the set of methods in acknowledging the visual alongside the verbal. While Piazza herself is modest in speculating how her investigation might contribute to the study of film within media and cultural studies, this truly interdisciplinary work is a clear contribution to both stylistics and film studies. Piazza’s analyses are grounded equally well in linguistics and film theory, and this book stands as a relevant contribution to our knowledge of both discourse and the cinema.