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- W3159291370 abstract "From the first movies to talkies, films have never been able to completely emancipate from language, the main way of communicating a story, and thus to ignore the written word. It can however be surprising that the written word hasn’t completely disappeared, even retaining an important role in talking cinema, since actors can now express themselves verbally and the audience can gather, thanks to the audio, all the information required to understand. There still remain some traces of writing on the screen, which Chion (2013) distinguishes as being “diegetic” or “non-diegetic.” Several types of writing, distinguished by their relation to the film’s diegesis, require the reviewer to give them particular attention since, even though their presence can sometimes be ignored, such presence is not natural in the “audio-visual.” Focus on the written word is even more important for those who study film adaptations or “transcreations”, since the diegesis is, as the first witness of the “story” (Gaudreault, 1988), conveyed in writing only. The first question will thus be to analyze the characteristics of the endurance of hypotexts via the written word in transcreations and to evaluate its presence in relation to films d’auteur. The second question, which goes beyond the typology proposed by Chion, will be to see if the written word can be limited by these two poles (diegetic and extradiegetic) or if their boundaries are porous, which would imply a reflexive and metafictional dialogue in many cases." @default.
- W3159291370 created "2021-05-10" @default.
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- W3159291370 date "2021-04-01" @default.
- W3159291370 modified "2023-10-14" @default.
- W3159291370 title "L’écrit à l’écran : écriture, texte et lisibilité dans la transcréation québécoise" @default.
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- W3159291370 doi "https://doi.org/10.3138/cjfs-2019-0019" @default.
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