Film in film

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This article was considered for deletion at Wikipedia on January 6 2015. This is a backup of Wikipedia:Film_in_film. All of its AfDs can be found at Wikipedia:Special:PrefixIndex/Wikipedia:Articles_for_deletion/Film_in_film, the first at Wikipedia:Wikipedia:Articles_for_deletion/Film_in_film. Purge

Film in Film: Interpretation, Aesthetics and Structure of Intertextuality, is presented to discuss about film in film as, in general case, a distinct filmic fragment inside the film.[1][2] Film in film is final thesis for master`s degree written by Jamshid BayatTork in Tehran University of Art, Dr.Ahmad Alasti as Supervising Professor and Dr.Esmaeel Bani Ardalan as Consulting Professor in 2000. This thesis, Film in Film: InterpretationTemplate:Disambiguation needed, Aesthetics and Structure of Intertextuality, is presented to discuss about film in film as, in general case, a distinct filmic fragment inside the film. Contemporary thinkers offer intertextuality as the most important approach in order to study structure, aesthetics and semantic interpretation of film in film. Intertextuality includes an unlimited area of multifarious and historically variable relations between works as heterogeneous textual productions. Film in film is very diverse and signifies abundant referential and connotative meanings. It could have any subject, or even a fundamental function in the film narration. Film in Film, like and intertext, surveys situation of the film in the real world from filmmaker`s point of view and organizes its influences on conditions of spectatorship. This thesis intends to introduce a guideline in order to provide some ideas for viewing film in film consciously, focusing, in particular on the interaction between aesthetics and structure in relation to interpretation of intertextuality. Intertextuality is the shaping of a text's meaning by another text. Intertextual figures include: allusion, quotation, calque, plagiarism, translation, pastiche and parody.[3][4][5] Examples of intertextuality are an author’s borrowing and transformation of a prior text, and a reader’s referencing of one text in reading another. Film in film, encourages us to reevaluate such issues as the real, the reality and the film world. This thesis has two parts, each one in two chapters, altogether delineating what film in film is as well as how it is interpreted in relation to intertextuality. The first part focuses on "From text to intertextuality in cinema and the second part on "Film in film as used in motion pictures". It, also, offers a close critique of a number of successful films in regard to the applications of film in film.

Intertexuality in Godard films

Jean-Luc Godard[6] films provide a variety examples of Intertextuality and by combining texts, he inspires from everything. samples of intertextuality should be noted in this regard because each of his works can be the subject of independent research, semiotic and historical.

Godard Films

Breathless (1960 film)[7][8][9]
The Little Soldier 1963 [10][11]
A Married Woman 1964 [12][13]
My Life to Live 1962 [14][15]
The Carabineers 1963 [16][17]
A Woman Is a Woman 1961 [18][19]
Alphaville 1965 [20][21]
Pierrot le Fou 1965 [22][23]
Weekend (1967 film) [24][25]
Passion (1982 film) [26][27]
For Ever Mozart 1996 [28]


  3. Gerard Genette (1997) Paratexts p.18
  4. Hallo, William W. (2010) The World's Oldest Literature: Studies in Sumerian Belles-Lettres p.608
  5. Cancogni, Annapaola (1985) The Mirage in the Mirror: Nabokov's Ada and Its French Pre-Texts pp.203-213
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