The Screenlife Narrative: Time and Focalization in Films Set on Computer Screens
The article does a narratological analysis of screenlife films, with the contribution of Gérard Genette’s work (1988; 2017). I define screenlife as an audiovisual form characterized by setting the narratives on computer screens. I discuss how the most popular films of this format construct their fig...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2024 |
| País: | Brasil |
| Institución: | Associação Nacional dos Programas de Pós-Graduação em Comunicação |
| Repositorio: | E-Compós |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.www.e-compos.org.br:article/2947 |
| Acceso en línea: | https://www.e-compos.org.br/e-compos/article/view/2947 |
| Access Level: | acceso abierto |
| Palabra clave: | Screenlife Screenmovie Tempo narrativo Focalização Narratologia Narrative time Focalization Narratology Tiempo narrativo Focalización Narratología |
| Sumario: | The article does a narratological analysis of screenlife films, with the contribution of Gérard Genette’s work (1988; 2017). I define screenlife as an audiovisual form characterized by setting the narratives on computer screens. I discuss how the most popular films of this format construct their figures of time and focalization. Seven fictional films are analyzed: The Collingswood Story (2002), Unfriended (2014), Sickhouse (2016), Unfriended: Dark Web (2018), Searching (2018), Host (2020) and Profile (2021). As a result, I describe the regularities and singularities of the films, understanding screenlife narrative in its formal multiplicity. |
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