U doba brzoga tehnološkog napretka i intenzivne medijske hiperprodukcije kreativne i zabavljačke industrije nailaze na brojne i nagle promjene, posebice u domeni pisanja scenarija, gdje tradicionalne metode pisanja dolaze u kontakt s tehnologijama umjetne inteligencije (UI). Uspoređujući tradicionalno scenarističko pisanje koje obavlja ljudski scenarist, i scenarističko pisanje koje provodi UI, može se primijetiti da ta dva različita pristupa na svojstven način scenaristički doprinose, nadopunjuju ili odstupaju u kreativnom procesu. Ljudski scenaristi prirodno uključuju bogatstvo emocionalnih nijansi, složenost likova i stilske nepravilnosti koje često doprinose autentičnosti i dubini priče. Nasuprot tome, UI scenarist, ne samo da analizira postojeće narative, nego i samostalno generira koherentne i kreativno složene scenarije. Ujedno pokazuje impresivnu sposobnost u generiranju narativa s visokom strukturalnom koherencijom, učinkovitim pripovijedanjem i značajnom brzinom produkcije, posebno u dobro definiranim i strukturalno ograničenim narativnim okvirima. Stoga je cilj rada na temelju analize uzorka scenarija koji je napisao scenarist i onoga koji je napisala UI analizirati scenarističku narativnu strukturalnu koherenciju, kreativnost narativa, emocionalnu dubinu, dijalošku dinamiku i stilsku složenost. Ključne riječi: scenarij; scenarist; umjetna inteligencija; analiza; narativ

Budući da filmski dijalozi odražavaju šire društvene i kulturne identitete te pridonose diskursu o identitetu unutar filmske umjetnosti, ovo istraživanje nastoji pružiti uvid u složenu interakciju između jezika, identiteta i filmske naracije u filmu Trči, Lola, trči (Lola rennt) redatelja Toma Tykwera iz 1998. godine. Naime, filmski dijalozi u ovome njemačkom, višestruko nagrađivanom filmu pokazuju zanimljivu putanju u kreiranju i oblikovanju identiteta glavnih likova, pri čemu se dijalog ne koristi samo kao narativni mehanizam nego i kao sredstvo za istraživanje i prezentaciju identiteta. Cilj je rada utvrditi kako dijalozi pridonose razvoju narativa te aktivno sudjeluju u konstrukciji kompleksnih identiteta protagonista. Osim toga, analizom pojedinih primjera potkrijepit će se kako jezik koji likovi koriste, njihov izbor riječi, ton te kontekst u kojemu se dijalozi odvijaju služe kao snažni alati u kreiranju identiteta, pri čemu zanimljive ponavljajuće dijaloške sekvence oblikuju specifičan odnos među njima. Ključne riječi: identiteti, filmski dijalozi, likovi, naracija, jezik

The study investigates how the main characters Alexander (Daniel Brühl) and Christiane (Katrin Sass) and their complex and dynamic relationships are characterized through film dialogue in the German film Good Bye, Lenin! directed by Wolfgang Becker in 2003. Since dialogues often serve as carriers of socio- historical circumstances and interpersonal relationships, which is also evident in this film, the aim of the study is to analyze the gradual revelation of the protagonists’ personal identities, their psychological “currents,” perception of reality, and motives for their actions based on three selected dialogues. In order to follow the emotional depth as well as the internal conflicts in the context of the socio-political upheavals of that time (for example, Christiane’s comatose alertness can be interpreted as a powerful metaphor for the collapse of East Germany), the discourse analysis will also include the linguistic-stylistic features that permeate and contribute to its development.

Croatian National Theatre in Mostar is a relatively new cultural institution when compared to other theatrical institutions. Turbulent incidents of newer Bosnian and Herzegovinian history, as well as historical, political and social changes, left their marks on all levels of the city of Mostar. Therefore, the repertoire of this Theatre, since it has been founded in 1994 (and was primarily named as „War Scene“), needs to be critically analyzed not only in relation to the reality of political and national occurrences of that period but also in comparison with theatrological specificities after the World War II. This paper questions the Theatre’s repertoire under those terms from 1993 to 2005.

This paper aims, based on the method of case study, to investigate how the handheld camera affects narration and ocularization in the Dogme 95 film. The Dogme 95 (hereafter ‘Dogme’) film is a relatively recent filmmaking movement, which has its own set of strict rules – one of which requires shooting the film with a handheld camera. Regardless of the fact that the utilization of a handheld camera causes specific and recognizable image and movement aesthetics, which can be described as a specific handheld camera style, it is also an indispensable theoretical fact that it very much ‘speaks’ through narration, in particular through focalization and ocularization, which is also theoretically confirmed by theoreticians of the Dogme film. The two most representative, and most prominent films of the Dogme filmmaking movement are Idiots [ Idioterne ] by Lars von Trier and The Celebration [ Festen ] by Thomas Vinterberg. The Dogme movement, famous for its inescapable and apparent pseudo-documentary filming style – which enables one to ask the question what is here and how is the reality of reality here – raises additional questions, but also provides answers through thoroughly studying the way in which the handheld camera narrates audiovisually and how narration flows in the two aforementioned films. Additionally, it asks whether there is a difference in narration and ocularization, or if it is disabled, and how the handheld camera becomes the narrator, in symbiosis with the character. Article received: December 28, 2017; Article accepted: January 10, 2018; Published online: April 15, 2018; Original scholarly paper How to cite this article: Pandža, Kristian. "The Effect of the Handheld Camera on Narration and Ocularization in the Dogme 95 Film."  AM Journal of Art and Media Studies 15 (2018): 83–92. doi: 10.25038/am.v0i15.232