Truth and Authenticity in Narrative

Doležel, Lubomír

doi:10.2307/1772407

Cited by 50 publications

(10 citation statements)

References 9 publications

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“…However, others (e.g. Doležel, 1980;Ryan, 1981) argue this intermediary, albeit not necessarily anthropomorphic, is a must, tacitly representing the real author in a given work. On some accounts, the presence of this narrator is what makes extradiegetic deception possible, for it prevents the author from shouldering the blame for it (see "Can the Cinematic Narrator Lie or Just Deceive Otherwise?").…”

Section: Film As a Multimodal Narrative Constructed By The Cinematic mentioning

confidence: 99%

When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative

Dynel

2021

Perspectives in Pragmatics, Philosophy &Amp; Psychology

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This article gives a comprehensive theoretical account of deception in multimodal film narrative in the light of the pragmatics of film discourse, the cognitive philosophy of film, multimodal analysis, studies of fictional narrative and – last but not least – the philosophy of lying and deception. Critically addressing the extant literature, a range or pertinent notions and issues are examined: multimodality, film narration and the status of the cinematic narrator, the pragmatics of film construction (notably, the characters’ communicative level and the one of the collective sender and the recipient), the fictional world and its truth, the recipient’s film engagement and make believing, as well as narrative unreliability. Previous accounts of deceptive films are revisited and three main types of film deception are proposed with regard to the two levels of communication on which it materialises, the characters’ level and the recipient’s level, as well as the intradiegetic and/or the extradiegetic narrator involved. This discussion is illustrated with multimodally transcribed examples of deception extracted from the American television series House. In the course of the analysis, attention is paid to how specific types of deception detailed in the philosophy of language (notably, lies, deceptive implicature, withholding information, covert ambiguity, and covert irrelevance) are deployed through multimodal means in the three types of film deception (extradiegetic deception, intradiegetic deception, and a combination of both when performed by both cinematic and intradiegetic narrators). Finally, inspired by the discussion of Hitchcock’s controversial lying flashback scene in Stage Fright, as well as films relying on tacit intradiegetic, unreliable narrators (focalising characters) an attempt is made to answer the thorny question of when the extradiegetic (cinematic) narrator can perform lies (through mendacious multimodal assertions) addressed by the collective sender to the recipient, and not just only other forms of deception, as is commonly maintained.

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Section: Film As a Multimodal Narrative Constructed By The Cinematic mentioning

confidence: 99%

When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative

Dynel

2021

Perspectives in Pragmatics, Philosophy &Amp; Psychology

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“…Recordemos que, tras el Romanticismo, la ficción fue rechazada por considerarse un modo de expresión «falso» o «subjetivo» incapaz de ofrecer ningún tipo de comprensión fehaciente. Gracias al esfuerzo durante las últimas décadas de los postestructuralistas, poco a poco se le ha podido devolver su estatuto configurador y comprensivo (Pavel 1988;Dolezel 1980;Barthes, et al 1982).…”

Section: ) La Literatura Egotista Es Configurada De Forma Imaginativunclassified

Fundamentos de la literatura egotista: los relatos del yo

Solá-Morales

2017

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RESUMENEl objetivo principal de este ensayo teórico es analizar cuáles son las características propias de la literatura egotista. Para ello, en primer lugar, se realiza una tipología del género y se describen las principales obras: a) la autobiografía y la prosa memorialística b) los diarios, dietarios íntimos, carnets y cahiers c) la biografía d) las historias de vida. A partir del análisis realizado, se propone una fundamentación teórica sobre las principales particularidades de este tipo de narrativas. Fueron 5 las principales conclusiones a las que se llegaron: 1) La alteridad está siempre presente en el relato biográfico. 2) Las narrativas biográficas son expresiones de la vivencia. 3) El relato biográfico otorga cierta unidad a la pluralidad. 4) La literatura egotista es configurada de forma imaginativa y ficticia. 5) Las narrativas biográficas son relatos configurados de forma temporal. Palabras claveLiteratura egotista, Biografía, Autobiografía, Diarios, Historias de vida.

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“…It is these writerly‐twist films that present us “with fictional worlds whose existence is ambiguous, problematic, indefinite. These worlds are neither authentic, nor non‐authentic, but create an indeterminate space between fictional existence and fictional non‐existence” (Doležel , 23), especially since they are not explicitly sanctioned by the film itself. It is this writerly mode and only this mode of twist narration that keeps the field of desire unencumbered by a closed story, that releases spectator desire from an overdetermined object, that swerves from the codified understanding, that opens up to the nearly true and the fabulous, and that, thereby, remains a potentially deviant mode of cinematic narration…”

Section: It's All In the “Obtuse” Detailsmentioning

confidence: 99%

Inviting a Scandalous Look: Detecting the FabulousFabulaPromoted by the Twist Film

Cameron

2017

The Journal of Aesthetics and Art Criticism

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This article argues that the explicit narrative twist that constitutes the mode of narration of twist films opens the potential for an additional implied twist that emerges in the awoken interpretive process of the viewer. Relying on Roland Barthes's notion of the “writerly” mode of narrative, this article further argues that this mode of implied twist narration inadvertently rearranges the spectator relationship to story construction in potentially any film by bringing spectator desire into focus.

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Truth and Authenticity in Narrative

Cited by 50 publications

References 9 publications

When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative

When Both Utterances and Appearances are Deceptive: Deception in Multimodal Film Narrative

Fundamentos de la literatura egotista: los relatos del yo

Inviting a Scandalous Look: Detecting the FabulousFabulaPromoted by the Twist Film

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