@article {471,
	title = {Narrative representation and fictionality in performative media},
	journal = {Frontiers of Narrative Studies},
	volume = {4},
	year = {2018},
	month = {2018///},
	pages = {s5 - s23},
	abstract = {The transmedial discussion in this article shows that the terms narrative mediation and representation should be carefully distinguished from fiction or fictionality. The constitutive use of {\textquoteleft}real{\textquoteright} (or factual) artifacts in performative media (i. e. media which present embodied events, such as theater or film) provides a good example for the necessity of this distinction. Frequently these artifacts serve the purpose of a fictional discourse and certain definitions of fictionality (cf. Walton 1990) can be said to be fulfilled. However, a real-world artifact can by no means become itself fictive, but is rather used to represent a fictive entity. By focusing on representation and mediation instead, it becomes possible to compare theater with other performative media in terms of narrative representation: even though it is sense-physiologically unmediated, the functions of narrative mediation (i. e. selecting, ordering, presenting, commenting; cf. e. g. Chatman 1990) apply. The article establishes a dynamic system of representation that can be used for the analysis of all kinds of multichannel narrative media and thus rests the ongoing scholarly discussions of transmedial narrative representation on a much sounder theoretical basis. It distinguishes representation clearly from fictionality, and highlights the significance of theater in this discussion.},
	keywords = {fictionality, mediation, narrative representation, performative media, transmedial narratology},
	isbn = {2509-4882},
	url = {https://www.degruyter.com/view/j/fns.2018.4.issue-s1/fns-2018-0030/fns-2018-0030.xml?format=INT},
	author = {Horstmann, Jan}
}
@article {673,
	title = {Moving Picture, Lying Image: Unreliable Cinematic Narratives},
	journal = {Acta Universitatis Sapientiae Film and Media Studies },
	volume = {10},
	year = {2015},
	month = {09/2015},
	chapter = {89},
	abstract = {By coining the term {\textquotedblleft}unreliable narrator{\textquotedblright} Wayne Booth hypothesized another agent in his model besides the author, the implicit author, to explain the double coding of narratives where a distorted view of reality and the exposure of this distortion are presented simultaneously. The article deals with the applicability of the concept in visual narratives. Since unreliability is traditionally considered to be intertwined with first person narratives, it works through subjective mediators. According to scholarly literature on the subject, the narrator has to be strongly characterized, or in other words, anthropomorphized. In the case of film, the main problem is that the narrator is either missing or the narration cannot be attributed entirely to them. There is a medial rupture where the apparatus mediates the story instead of a character{\textquoteright}s oral or written discourse. The present paper focuses on some important but overlooked questions about the nature of cinematic storytelling through a re-examination of |the lying flashback in Alfred Hitchcock{\textquoteright}s Stage Fright. Can a character-narrator control the images the viewer sees? How can the filmic image still be unreliable without having an anthropomorphic narrator? How useful is the term focalization when we are dealing with embedded character-narratives in film?},
	keywords = {Alfred Hitchcock, cinematic narrative, focalization, mediation, unreliable narrator},
	doi = {10.1515/ausfm-2015-0028},
	author = {Cs{\"o}nge, Tam{\'a}s}
}
