“The GOOD IS LIGHT and BAD IS DARKNESS metaphors in feature films.” Metaphor and the Social World 3(2) (guest editors: Laura Hidalgo & Blanca Kraljevic).

The following is a distributed version of a paper that will be published in Metaphor and the Social World. If you want to quote from it verbatim, please check the published version. Here are the publication details as they are … Continue reading

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“The strategic use of the visual mode in advertising metaphors.” In: Emilia Djonov and Sumin Zhao (eds), Critical Multimodal Studies of Popular Culture (55-70). NewYork: Routledge.

The following is a pre-print version of a chapter published in 2013. If you want to quote verbatim from it, please check the published version. The publication details are: Forceville, Charles (2013). “The strategic use of the visual mode in … Continue reading

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“Stylistics and comics.” In: Michael Burke (ed.), The Routledge Handbook of Stylistics. London: Routledge.

The following is a pre-print of a chapter that has been accepted for publication. Please note that there can be differences between this version and the eventually published one. If you want to refer to it, please do so as … Continue reading

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North Korea Wins, Violent Kids, & A Scary World: Looking through the Prism of DPRK Comic Books by Jacco Zwetsloot

“North Korea Wins, Violent Kids, & A Scary World: Looking through the Prism of DPRK Comic Books” Summary: Who said that Communist literature was boring? Certainly, most didactic texts out of the Democratic People’s Republic of Korea seem designed to … Continue reading

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The Oval Sphere vs. the Flat Canvas by Yong Liu

29th November AIM Seminar Abstract: The Oval Sphere vs. the Flat Canvas By Yong Liu (刘咏 yongliu@fudan.edu.cn) Oscar-winning filmmaker Ang Lee remarks on stereoscopic 3D cinema,“…For over a hundred years, our eyes compensate the lack of volume in 2D, so … Continue reading

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Considering the verbal and non-verbal modes in the analysis and evaluation of appealing to the audience’s fear in anti meth-commercials.

AIM presentation 4/10/’13 Title: “Considering the verbal and non-verbal modes in the analysis and evaluation of appealing to the audience’s fear in anti-meth commercials.” Elodie Glerum (elodie.glerum@hispeed.ch) Abstract In anti-drug campaigns, advertisers frequently appeal to the audience’s fear as a … Continue reading

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This Is Not a Film: An Exploratory Examination of Recent Mockumentaries and Their Relation to New Forms of Representation of the Real

AIM presentation 4/10/’13

Title: This Is Not a Film: An Exploratory Examination of Recent Mockumentaries and Their Relation to New Forms of Representation of the Real.”

 Mélanie Cravero (melcravero@gmail.com)

 Abstract Some reality shows were announced to be faked in order to start a discussion about the boundaries between reality and fiction in the post-documentary context of reality TV. The controversies did not only illustrate the high media interest in the presentation of the real but also documented how the public perception of programs between reality and fiction had changed with the viewer’s growing experience of the genre. However, more recent scripted reality formats which are also faked, such as mockumentaries, have no longer provoked similar public discussions (Beck et al., 2012: 13). In their extended analysis, Jane Roscoe and Craig Hight (2010) define mockumentaries as a genre which deliberately blurs the boundaries between fiction and nonfiction in order to subvert the well-established genre of the documentary tradition. However, not only do these hybrid factuality programs play with documentary forms and simulation techniques but they also challenge the documentary’s relationship to the real. As such, they belong to a broader context of cultural experiences that adopt a self-conscious, sometimes critical relationship to the authentic-seeming, worth exploring further (King, 2005). In fact, beyond a mere subversion of factuality, I believe that mockumentaries constitute new forms of truth-based projects which perpetuate the documentary tradition to represent social realities by engaging audiences in a critical reflection about the constructed nature of any fact-based discourses. Within a contemporary media landscape which fostered the production and consumption of reality based formats, the ambivalence between factual and fictitious production of reality seems to reflect the recent spate of films that exploit ambiguities between documentation and fiction; and the release of three mockumentary films in 2010 has raised numerous questions as to the extent to which these films blended facts with fiction. In fact, Exit Through the Gift Shop, 2010; I’m Still Here, 2010; and Catfish, 2010 – in which what appears to be an empirical record unfolding in real time eventually proves to be a dramatic reconstruction or partially scripted drama – will constitute by objects of analysis to further explore new strategies of representation of the real.

By looking at mockumentary filmmaking as a contemporary form of representing the real through staged authenticity, m aim was to analyze such practices as part of a growing culture of the spectacle of the real (reality shows, docu-soap, Facebook, YouTube). Besides, the faith in moving images to claim the truth is now more than ever put into question with regard to increasing technological manipulations. Therefore, I will hereby try to demonstrate that even though mockumentary are fabricated truths (content) they address contemporary issues (discourse) embedded in the world we live in, and subsequently participate in an ongoing documentary tradition. 

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