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Which clippings match 'Diegetic Space' keyword pg.1 of 1
10 JANUARY 2013

Interstitials: messages or declarations addressed to the viewer

"Interstitials can therefore be found within programmes as well as around them. They constitute a class of television output rather than a genre. They consist of messages or declarations addressed to the viewer from outside the diegetic worlds of fiction or the discourses of news, documentary and factuality. They consist of metadata about both the programme of the moment and the future plans of the broadcaster. They bring together the past and future of broadcasting within its present moment. In addition to this metadata function, other forms of interstitial come from agencies beyond the world of broadcasting who are given conditional access to broadcasting: the advertisers, the sponsors and the government in the form of its public service announcements. This is a whole class of television output: heterogeneous, but occupying a distinct position in relation to the other class of television that is programmes of whatever genre. Sometimes interstitials overlap with or invade programmes. Interstitials make up a class that we have to learn to distinguish. One of the problems of arriving in a new television culture is that of learning how the interstitials work – what they are trying to tell you; how they interlace with the programmes; how they shape the spaces that the programmes occupy; and how they build anticipation and delay into the development of those programmes. It can take an appreciable amount of time to become a skilled viewer as a result."

(John Ellis, 2011, p.95)

Published in: Ephemeral Media, Transitory Screen Culture from Television to YouTube Edited by Paul Grainge Palgrave Macmillan, November 2011 ISBN: 978–1–84457–434–6, ISBN10: 1–84457–434–2 http://us.macmillan.com/ephemeralmedia/PaulGrainge

TAGS

addressed to the vieweradvertisersbeyond the world of broadcastingbringing togetherbroadcaster • building anticipation • class of television output • declarations • delay • diegetic spaceexpositionfactualityfictional world • forms of interstitial • from outside • interlace • intermezzointerstitials • invading • messages • new television culture • positioned around • positioned within • public service announcements • sequential composition • shape the spaces • sponsors • television • television output • television programmes

CONTRIBUTOR

Simon Perkins
23 AUGUST 2005

Diegesis and Diegetic Space in Videogames

"Rimmon–Kenan (1983) notes how the distinction between Plato's and Aristotle's mimesis (often translated as showing) and diegesis (telling) had come by the end of the nineteenth century to mean, on the one hand, the direct presentation of events in which the narrator seems to disappear (as in drama), and, on the other, presentation mediated by a narrator who, instead of exhibiting events, talks about them, sums them up, and so forth. Since then, the term diegesis has been widely adopted in film theory with a rather different sense: diegetic space is that which is accessible to the characters in the film (Giejgo 2001). By contrast, one of the most common extra–diegetic components is film music, heard by the audience but not by the characters in the story. Subtitles and inter–titles are also extra–diegetic. In the case of a painting, the artist's signature is usually in the non–diegetic space of the canvas surface ? but occasionally is made diegetic by being incorporated into the scene itself. In a videogame, there is almost invariably a diegetic world occupied by the scenery and characters, and a non–diegetic layer occupied by status indicators for variables such as health, weaponry, and so forth. We argue that this divided relationship between the world and the interface, between the diegesis and the extra–diegetic, is analogous to the configurational mode of graphics. There is a diagrammatic relation between a pictured world and the set of controls and measures which are external to that world. Such a relation is also familiar in standard graphical user interfaces, usually considered as examples of direct manipulation (Shneiderman 1998:186 passim) but often favouring indirect manipulation, so that for example an onscreen video–console has a set of controls to play, stop, rewind and so forth, rather than the user interacting with the displayed video material itself. The controls are extra–diegetic."

(Stephen Boyd Davis)

[1] Rimmon–Kenan, Shlomith. 1983. Narrative Fiction: contemporary poetics. Methuen, London.
[2] Giejgo, Marja. 2001. www, ?Val Geilgud and the BBC?, website of Independent Radio Drama Productions
Ltd, http://www.irdp.co.uk/GIELGUD/valbbc14.htm (1 September 2001)
[3] Shneiderman, Ben. 1993. 3rd edition. Designing the User Interface – strategies for effective human computerinter action. Addison–Wesley, Reading, MA.

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TAGS

arcade gameAristotle • Boyd Davis • computer gamediegesisdiegetic spacegameludicludic spacemimesismusicPlatospacevideo gameworld of the story
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