Trumpets and orange-coloured days — Inferences, associations and synaesthesia in filmic text
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This document discusses how meaning is constructed through different senses in film. It examines how viewers interpret the interplay between visual and auditory modalities. The document argues that film viewing involves synesthesia, where the senses interact and blend together. It proposes analyzing films using "Segmented Film Discourse Representation Structures" to understand how logical forms of discourse are constructed and related through different relations. An example from the film Amélie is provided. The document suggests future work could explore how neuroscience research relates to how sensory data, narrative patterns and symbolic meanings are integrated during film viewing.
![3
Starting point
„Cinema can give us much more than Rimbaudian
correspondences […], it can create a veritable intersensory
reciprocity.“
Chion 1994: 134
„In der Bewältigung der polyphonie informationelle – wie
Barthes dieses Zusammenspiel sehr anschaulich genannt hat –
bringt der Zuschauer sich selbst ins Spiel, sein Gefühl
dafür, wie die verschiedenartigen Reize
zusammenhängen, die über Auge und Ohr in ihn einziehen.“
Flückiger 2001: 137](https://image.slidesharecdn.com/trumpets-130611093236-phpapp01/85/Trumpets-and-orange-coloured-days-Inferences-associations-and-synaesthesia-in-filmic-text-3-320.jpg)
![4
Intersensory perception – synchretism – synaesthesia
„The perception of films, like natural perception, is both
synesthetic and synoptic […].“
Plantinga 2009: 141
„Alternatively, one might argue that all cinema is
synaesthetic, because in lived experience the senses have a
way of skirting the hierarchies and divisions we use to
define and explain them.“
Barker 2008: 236f.](https://image.slidesharecdn.com/trumpets-130611093236-phpapp01/85/Trumpets-and-orange-coloured-days-Inferences-associations-and-synaesthesia-in-filmic-text-4-320.jpg)
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Trumpets and orange-coloured days — Inferences, associations and synaesthesia in filmic text
- 1. TRUMPETS AND ORANGE-COLOURED DAYS Inferences, associations and synaesthesia in filmic text Janina Wildfeuer Faculty of Linguistics and Literary Sciences Bremen University, Germany
- 2. 2 Starting point • how is meaning constructed crossmodally? • how do we interpret/infer the intersemiotic interplay of the modalities?
- 3. 3 Starting point „Cinema can give us much more than Rimbaudian correspondences […], it can create a veritable intersensory reciprocity.“ Chion 1994: 134 „In der Bewältigung der polyphonie informationelle – wie Barthes dieses Zusammenspiel sehr anschaulich genannt hat – bringt der Zuschauer sich selbst ins Spiel, sein Gefühl dafür, wie die verschiedenartigen Reize zusammenhängen, die über Auge und Ohr in ihn einziehen.“ Flückiger 2001: 137
- 4. 4 Intersensory perception – synchretism – synaesthesia „The perception of films, like natural perception, is both synesthetic and synoptic […].“ Plantinga 2009: 141 „Alternatively, one might argue that all cinema is synaesthetic, because in lived experience the senses have a way of skirting the hierarchies and divisions we use to define and explain them.“ Barker 2008: 236f.
- 5. 5 Synaesthesia and audiovisual perception experiencing sensory data =synaesthesia sensory interpretation attributing semantic content cognitive interpretation Fahlenbrach 2003/2010semantic networking?
- 6. 6 Analysing Filmic Textuality: Segmented Film Discourse Representation Structures THEORIE DES FILMVERSTEHENSLOGIC OF FILM DISCOURSE INTERPRETATION 1. level of identification and arrangement of the meaning-making entities 2. level of coherence and structure 1. logic 2. logic constructing logical forms of discourse relating the logical forms via discourse relations Wildfeuer 2013
- 7. 7 Amélie (Le fabuleux destin d‘Amélie Poulain) (Jeunet, 2001)
- 8. 8 Constructing logical forms of discourse
- 9. 9 "Dear Mrs. Wells, we recently recovered a mailbag that was lost in a plane crash on October 12th 1969 on Mont Blanc. We are forwarding the enclosed letter to your address. Please accept our apologies for the uncustomary delay. Jacques Grosjean, Customer Services.” Constructing logical forms of discourse
- 10. 10 2. logic: film discourse relations
- 11. 11 Relating the logical forms via discourse relations
- 12. 12 Relating the logical forms via discourse relations
- 13. 13 Relating the logical forms via discourse relations "Darling Mado, I'm in exile. I can't sleep, can't eat. I think of you endlessly. I know I've made the biggest mistake of my life. I turned down that woman's money. If all goes well, I'll soon be able to afford a house. I dream of better times ahead when you'll forgive me and join me here one orange-coloured day. Your ever-loving Adrien.
- 14. 14 Relating the logical forms via discourse relations
- 15. 15 Relating the logical forms via discourse relations
- 16. 16 Synaesthesia and audiovisual perception experiencing sensory data =synaesthesia sensory interpretation attributing semantic content cognitive interpretation semantic networking!
- 17. 17 Synaesthesia and audiovisual perception „Object recognition and identification are goal directed tasks in which perceptual systems parse sensory inputs into salient cues, group these cues together into perceptual objects, and assign them to categories.“ Seeley 2012: 501f. „The results of this study suggests that sound affects processing at the level of the „visual“ cortex.“ Shams et al. 2004: 30
- 18. 18 Where to go from here…? constructing logical forms of discourse relating the logical forms via discourse relations neuroscientific research ? filmic (sensory) data narrative patterns symbolic meanings, etc.