Results 3 resources
Castro, M. G., Caires, C. S., Ribas, D., & Palinhos, J. (2015). A review of the Colloquium «Narrative, Media and Cognition» — a cartography of the borders of narrative. Journal of Science and Technology of the Arts, 89-94 Páginas. https://doi.org/10.7559/CITARJ.V7I2.164
We present an overview and discussion of the Colloquium «Narrative, Media and Cognition», which took place at Porto's Centre of Catholic University of Portugal in July of 2015, under the organization of the Research Centre for Science and Technology of the Arts (CITAR). Several scholars of different areas presented research about the uses and advances in narrative study and practice in a broad range of areas, giving some important insights about the latest developments in Narrative Studies, Ontology of Narrative and the uses of Narrative in Art, Cinema, Performance, Journalism, Marketing and Literature, among other fields. After briefly describing the main points of each presentation in the Colloquium we try to draw some conclusions and possibilities raised by the Colloquium and take a glimpse of future paths that the use of Narrative can end up taking.
International Conference on Digital Arts, Caires, C., University of Saint Joseph (Macau, C., & Association for Computing Machinery. (2017). ARTECH 2017: “Interfaces of Tomorrow” : 8th International Conference on Digital Arts : proceedings : September 6-8, 2017, Macau, China. https://doi.org/10.1145/3106548
Tan, C. S. (2017). Semiotic multimodality :a filmic analysis of Wong Kar-Wai’s in the mood for love / [PhD in Global Studies, University of Saint Joseph]. http://library-opac.usj.edu.mo/cgi-bin/koha/opac-detail.pl?biblionumber=174051
The study builts on Bateman and Schmidt’s (2011) and Tseng’s (2009) research on film as a form of “cinematographic document,” and continues their efforts to construct a semiotic mode of film. The author recognizes the complexity of undertaking research in the domain of semiotic discourse. This study argues that as film analysis is about ways of seeing and synthesizing different cinematic styles, strategies; learnt cinematic conventions and reflective viewing is imperative. The interaction of robust multimodal resources, well-defined analytic units, based on dependable models, and conducted through a discursive process should align to produce fruitful filmic discourse. The study premised on the assumption that film is more than a “self-enclosed signification system” but a crucial “cultural practice” that “reflect and inflect culture.” Taken together, this view underscores the importance and interactivity of cinema, culture and society. To this end, the study contributes to filmic meaning making, the New Hong Kong Cinema, and finally, the present study invariably serves as a form of “social document” or “cultural artifacts” in its exploration of Hong Kong ever changing identity, culture and moods.