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Story and Discourse: Narrative Structure in Fiction and Film
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The article was published on 1980-05-31 and is currently open access. It has received 1885 citations till now. The article focuses on the topics: Narrative structure & Narrative criticism.read more
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Aesthetic Responses to the Characters, Plots, Worlds, and Style of Stories
TL;DR: The authors reviewed empirical research on aesthetic responses to stories, organizing their review around characters, plots, worlds or setting, and stylistic choices, and discussed emotional, cognitive, and physiological reactions to plot events.
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Playing the waves
TL;DR: In this paper, Manovich describes contemporary cinema as a particular case of animation, one which in the age of the classical, indexical cinema had formed only a marginal genre: digital cinema is a particular cases of animation that uses live-action footage as one of its many elements.
Journal ArticleDOI
Political Rationality and CCS Discourse
TL;DR: This paper identified two main media discourses related to the announced lunar landing, including important participants and arguments, as well as the positions taken by the actors of the discourses, and argued that the discourse is not really about CCS but politics in the form of narratives on promises, alliances and emotions caused by political actions.
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"The Yellow-Dog Thing": Joseph Conrad, Verisimilitude, and Professionalism
TL;DR: In this article, the authors frame Conrad's practice of verisimilitude as a technique of securing the reader's trust, and examine how professionalism functioned in Conrad's self-presentation, but also how the technique of verizimilitude that he developed in Lord Jim surpasses the rhetoric of professionalism.
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Quixotic Storytelling, Lost in La Mancha, and the Unmaking of The Man Who Killed Don Quixote
TL;DR: In this paper, a comparative discourse analysis of Lost in La Mancha and Don Quijote is presented, in part to investigate whether Fulton and Pepe's documentary is generically the first of its kind and to argue that the distortion of reality and fiction in the lives of the subjects of Lost has a direct impact on its generic categorization and the unmaking of film itself.