Dramaturgical approach in cinema : elements of poetic dramaturgy in A. Tarkovsky's films

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dc.contributor Aalto-yliopisto fi
dc.contributor Aalto University en
dc.contributor.advisor Timonen, Eija fi
dc.contributor.author Koivumäki, Marja-Riitta
dc.date.accessioned 2016-03-16T10:01:16Z
dc.date.available 2016-03-16T10:01:16Z
dc.date.issued 2016
dc.identifier.isbn 978-952-60-0073-2 (electronic)
dc.identifier.isbn 978-952-60-6633-2 (printed)
dc.identifier.issn 1799-4942 (electronic)
dc.identifier.issn 1799-4934 (printed)
dc.identifier.issn 1799-4934 (ISSN-L)
dc.identifier.uri https://aaltodoc.aalto.fi/handle/123456789/19838
dc.description.abstract This thesis by publication examines dramaturgical screenwriting theories as operative methods for producing cinematic narratives, their regularities and evolving constructions. In spite of a wealth of studies and analyses on film and publications and guidebooks on how to write a screenplay, there are, nevertheless, few critical academic studies on dramaturgical techniques from the screenwriter’s perspective. Thus authorship serves as the basic premise for this study and generates the theoretical framework for the research, which is defined as practice-led research. The thesis introduces the dramaturgical approach in film, which is employed as a framework for a dramaturgical analysis of two Andrei Tarkovsky’s films – Ivan’s Childhood (1962) and Nostalgia (1983). The analysis identifies certain dramaturgical tools and techniques, which can be characterized as poetic. The adoption of a dramaturgical tool relates to the story material and to the theme/meaning conveyed through this material. Thus the function of the dramaturgical tool can be identified only within the overall story composition as generated by the author. In addition, this study aims to define the aesthetic independence of the screenplay using a dramaturgical approach. The aesthetic independence is typically defined by the direct relationship between the viewer and the artwork. The screenplay, however, is actualized for the viewer only via its cinematic performance. The aesthetic independence of the screenplay is explored by studying the contribution of the screenplay to the cinematic performance and, consequently, to the viewer’s experience of it. The study suggests that particular visual poetic elements within a film originate from its screenplay, and therefore contribute to the aesthetic independence of the screenplay. The study demonstrates that dramaturgy can be understood as dramaturgical activity, that is, all those choices made by the author in order to build a cinematic performance for the viewer to experience. In addition, the study demonstrates that in order to understand the core of dramaturgy within cinema, it needs to be detached from the context of the theatre and examined within the context of dramatic composition for cinematic performance. The results suggest that modern film has developed a variation of dramaturgy, with its own cinematic characteristics, which forms part of the screenwriter’s craft and affects current storytelling practices in cinema and TV. This variation of dramaturgy can also be used to create dramatic content for other platforms, such as Internet and digital games. The study also indicates that critical research on film dramaturgy as practice-oriented research is required both diachronically as well as contemporaneously. en
dc.format.extent 105 + app. 50
dc.format.mimetype application/pdf en
dc.language.iso en en
dc.publisher Aalto University en
dc.publisher Aalto-yliopisto fi
dc.relation.ispartofseries Aalto University publication series DOCTORAL DISSERTATIONS en
dc.relation.ispartofseries 16/2016
dc.relation.haspart [Publication 1]: M.-R. Koivumäki The aesthetic independence of the screenplay. Journal of Screenwriting, Vol. 2:1, 2010, pp. 24-40. DOI: http://dx.doi.org/10.1386/josc.2.1.25_1
dc.relation.haspart [Publication 2]: M.-R. Koivumäki Poetic dramaturgy in Andrey Tarkovsky’s Ivan’s Childhood (1962) : Conflict and contrast, two types of narrative principles. Journal of Screenwriting, Vol. 3:1, 2011, pp. 27-43. DOI: http://dx.doi.org/10.1386/josc.3.1.27_1
dc.relation.haspart [Publication 3]: Marja-Riitta Koivumäki: Poetic dramaturgy in Andrey Tarkovsky’s Nostalgia (1983): a character without a goal? Journal of Screenwriting, Vol. 5:1, 2014, pp. 141-155. DOI: http://dx.doi.org/10.1386/josc.5.1.141_1
dc.subject.other Film and Television en
dc.title Dramaturgical approach in cinema : elements of poetic dramaturgy in A. Tarkovsky's films en
dc.type G5 Artikkeliväitöskirja fi
dc.contributor.school Taiteiden ja suunnittelun korkeakoulu fi
dc.contributor.school School of Arts, Design and Architecture en
dc.contributor.department Elokuvataiteen ja lavastustaiteen laitos fi
dc.contributor.department Department of Film, Television and Scenography en
dc.subject.keyword screenwriting theories en
dc.subject.keyword dramaturgical techniques en
dc.subject.keyword cinematic narratives en
dc.subject.keyword Tarkovski, Andrei en
dc.subject.keyword Ivan's Childhood en
dc.subject.keyword Nostalgia en
dc.identifier.urn URN:ISBN:978-952-60-0073-2
dc.type.dcmitype text en
dc.type.ontasot Doctoral dissertation (article-based) en
dc.type.ontasot Väitöskirja (artikkeli) fi
dc.contributor.supervisor Helke, Susanna, Prof., Aalto University, School of Arts, Design, and Architecture, Finland en
dc.opn Brenes, Carmen Sofia, Prof., University of the Andes, Chile
dc.date.defence 2016-02-26


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