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Thon, Jan-Noël: "Subjectivity across Media. On Transmedial Strategies of Subjective Representation in Contemporary Feature Films, Graphic Novels, and Computer Games." In: Storyworlds across Media. Toward a Media-Conscious Narratology. Hrsg. v. Marie-Laure Ryan und Jan-Noël Thon. (Frontiers of Narrative.) Lincoln: Univ. of Nebraska Press, 2014, S. 67–102. 
Resource type: Book Article
Languages: englisch
BibTeX citation key: Thon2014
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Categories: General
Keywords: Intermedialität, Narratologie
Creators: Ryan, Thon
Publisher: Univ. of Nebraska Press (Lincoln)
Collection: Storyworlds across Media. Toward a Media-Conscious Narratology
Abstract
“[…] Jan-Noël Thon’s “Subjectivity across Media: On Transmedial Strategies of Subjective Representation in Contemporary Feature Films, Graphic Novels, and Computer Games” examines what can be described as transmedial strategies of subjective representation. These strategies allow the spectator, reader, or player to assume a specific kind of direct relationship between the narrative representation and a character’s consciousness. Arguing against the prolonged use of terms such as “point of view,” “perspective,” and “focalization,” which have become increasingly vague and open to misunderstanding over the past four decades, Thon begins by introducing a heuristic distinction between subjective, intersubjective, and objective modes of representation that allows for a bottom-up analysis of local, as well as global, structures of subjectivity. If intersubjective representation can be considered the unmarked case in which storyworld elements are represented as they are perceived by a group of characters, objective representation and subjective representation are both marked cases, albeit on opposing ends of a continuum of subjectivity. While objective representation implies that the storyworld elements in question are not perceived or imagined by any characters at all, subjective representation implies that the storyworld elements in question are (subjectively) perceived or imagined by only one character. In a second step, Thon identifies and discusses a number of particularly salient pictorial strategies of subjective representation such as “point-of-view sequences,” “(quasi-)perceptual point-of-view sequences,” “(quasi-)perceptual overlay,” and the “representation of internal worlds.” Finally he examines the medium-specific realization of these transmedial strategies of subjective representation in the conventionally distinct media of contemporary feature films, graphic novels, and computer games, emphasizing the dual perspective of a narratology that is both transmedial in analytic scope and media conscious in methodological orientation.” (From the editors’ introduction, p. 7–8)
  
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