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Burch, Kerry T.

doi:10.1023/a:1005136031008

Cited by 9 publications

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“…By this Burch means that 'one or another of the spatial segments in question takes shape in the viewer's imagination every time an entrance or exit occurs into or out of that segment'. 45 This 'shaping' becomes especially vivid when a single primary motion vector starts to interact with another primary motion vector. Zettl goes further to delineate three such types of relationships that primary motion vectors can have within a single shot (and as we shall see later, also across a series of shots): 'continuing' (when two or more vectors point in the same direction), 'converging' (when they point to each other) and diverging (when they point away from each other).…”

Section: Primary Motionmentioning

confidence: 99%

Meaning Potential of Motion Vectors in Cinema

Coëgnarts

2022

Cinéma & Cie

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This paper examines the meaning potential of directed forces or vectors in cinema. The first part draws on the pioneering work of Rudolf Arnheim to highlight the prominent role of vectors in the visual structuring of meaning in paintings. In the second part, we move on to explore the semantic significance of motion vectors in cinema. To this aim we first define and diagram the filmic space in which vectors may articulate themselves visually. Having firmly grounded this spatial framework in film theory, we adopt the terminology of Herbert Zettl to further distinguish between three types of motion vectors: primary motion vectors (elicited by motion of visual objects), secondary motion vectors (elicited by camera movement) and tertiary motion vectors (elicited by editing). We conclude this paper by applying the proposed conceptual tools of this paper to three filmic case-studies in which the relation between narrative meaning and motion vectors is further discussed and illustrated.

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Section: Primary Motionmentioning

confidence: 99%

Meaning Potential of Motion Vectors in Cinema

Coëgnarts

2022

Cinéma & Cie

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Bildung, Emotion and Thought

Karlsohn

2018

The Thinking University

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Is There an Ethics of Diabolical Evil? Sex Scandals, Family Romance, and Love in the School & Academy

Jagodziński

2006

Stud Philos Educ

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This essay attempts to examine the difficult question of sex scandals both in public school settings and in the academy. It raises issues over the way authority in the classroom is unequally exercised by both male and female teachers in terms of power and seduction. However, the Law remains explicit when it comes to judging who is at fault within a-student relationship that collapses into the bedroom. The ethics that surround such sexual affairs is raised through the psychoanalytic and philosophical writings of Jacques Lacan. The essay ends by offering a surprised perspective over the question whether an ethics of diabolical evil is possible, given that such affairs are differentiated as post-Oedipal relationships where age differentiations have become blurred.

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Cited by 9 publications

References 0 publications

Meaning Potential of Motion Vectors in Cinema

Meaning Potential of Motion Vectors in Cinema

Bildung, Emotion and Thought

Is There an Ethics of Diabolical Evil? Sex Scandals, Family Romance, and Love in the School & Academy

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