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443:"Diegetic", in the cinema, typically refers to the internal world created by the story that the characters themselves experience and encounter: the narrative "space" that includes all the parts of the story, both those that are and those that are not actually shown on the screen, such as events that have led up to the present action; people who are being talked about; or events that are presumed to have happened elsewhere or at a different time; such as the intro to "Star Wars", with its now classic "A long time ago, in a galaxy far, far away..."
582:, towards an imaginary "elsewhere" set in the past and which has to be evoked for the reader through predication and description. Dramatic worlds, on the other hand, are presented to the spectator as "hypothetically actual" constructs, since they are "seen" in progress "here and now" without narratorial mediation. This is not merely a technical distinction but constitutes, rather, one of the cardinal principles of a poetics of the drama as opposed to one of narrative fiction. The distinction is, indeed, implicit in
799:
27:
483:, the colored spine of the player's spacesuit is used to indicate the health points of their character. This is rendered within the environment of the game, as part of the player's character. Ammo, mission updates, and several key menus are also rendered in the game world, which are viewed by the player's character.
497:
series, in which the player-character is equipped with an advanced survival suit that projects holographic images to the character within the game's rendering engine that also serve as the game's user-interface to the player to show weapon selection, inventory management, and special actions that can
491:. Status icons, menu bars and other UI which are not part of the game world itself can be considered as "extra-diegetic"; a game character does not know about them even though for the player they may present crucial information. A noted example of a diegetic interface in video games is that of the
435:
for us where to look - and where not to look. In a similar way, editing causes us to jump from one place (and/or time) to another, whether it be elsewhere in the room, or across town. This jump is a form of narration; it is as if a narrator whispers to us: "meanwhile, on the other side of the
383:
narrative. However, the author may include elements that are not intended for the primary narrative, such as stories within stories. Characters and events may be referred to elsewhere or in historical contexts and are therefore outside the main story; thus, they are presented in an
446:
Thus, elements of a film can be "diegetic" or "non diegetic". These terms are most commonly used in reference to sound in a film. Most soundtrack music in films is non diegetic; heard by the audience, but not by the characters. Some films reverse this convention; for example,
343:(the level of the narrative's telling) is, according to Prince, "external to (not part of) any diegesis." One might think of this as what we commonly understand to be the narrator's level, the level at which exists a narrator who is not part of the story being told. The
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events which said story purports to tell. (It is the difference between seeing an intertitle reading "a week later," and simply waiting a week.) Diegesis may concern elements, such as characters, events, and things within the main or
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forest". It is for this reason that the "story-world" in cinema is referred to as "diegetic"; elements that belong to the film's narrative world are diegetic elements. This is why, in the cinema, we may refer to the film's
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In video games "diegesis" comprises the narrative game world, its characters, objects and actions which can be classified as "intra-diegetic", by both being part of the narration and not breaking the
309:
all parts of narratives—characters, narrators, existents, actors—are characterized in terms of diegesis. In literature, discussions of diegesis tend to concern discourse/sjužet (in
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employs diegetic music, played by the characters on music devices, to which many of the film's action scenes are set. These terms can also apply to other elements. For example, an
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that depicts something that is neither taking place in the world of the film, nor is seen, imagined, or thought by a character, is a
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In filmmaking the term is used to refer to the story as it is directly depicted onscreen, as opposed to the (typically much longer)
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Bunia, Remigius. 2010. "Diegesis and
Representation: Beyond the Fictional World, on the Margins of Story and Narrative,"
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431:. Even in a spatially and temporally continuous scene (mimicking the theatrical situation, as it were), the camera
750:. Trans. John Halliday. European Studies in English Literature Ser. Cambridige: Cambridge University Press, 1988.
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The classical distinction between the diegetic mode and the mimetic mode relates to the difference between the
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Details about the world itself and the experiences of its characters are revealed explicitly through narrative.
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In dramatic texts, the poet never speaks directly; in narrative texts, the poet speaks as herself or himself.
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See also
Pfister (1977, 2–3) and Elam: "classical narrative is always oriented towards an explicit
671:"Deliberately diegetic: Dead Space's lead interface designer chronicles the UI's evolution at GDC"
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describes a character's ability to hear the music presented for the audience, in the context of
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events are those experienced by both the characters within a piece and the audience, while
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is that part of a diegesis that is embedded in another one and is often understood as a
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549:(Cornell University Press, 1980); or (for a readable introduction) H. Porter Abbott's
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who speaks from "outside" in the form of commenting on the action or the characters.
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There is a presumed detachment from the story of both the speaker and the audience.
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storytelling in which a participating narrator offers an on-site, often interior,
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Gerald Prince, A Dictionary of
Narratology, 2003, University of Nebraska Press,
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by a narrator. The narrator may speak as a particular character, or may be the
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them through narration, while drama enacts stories through direct embodiment (
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is understood as the level of the characters, their thoughts and actions. The
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An
Introduction to Film Analysis: Technique and Meaning in Narrative Film
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Coyle, R. (2004). Pop goes the music track. Metro
Magazine, 140, 94–95.
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describing the actions and, in some cases, thoughts, of one or more
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The story is told or recounted, as opposed to shown or enacted.
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702:. Ed. Bernard F. Dukore. Florence, KY: Heinle & Heinle.
619:"Inside the Oscar-nominated sound that steers 'Baby Driver'"
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narration (with some exceptions) are also non-diegetic.
262:(Greek μίμησις "imitation") have been contrasted since
779:, The Continuum International Publishing Group, 2012.
363:, as when diegetic narrators themselves tell a story.
586:'s differentiation of representational modes, namely
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Aristotle. 1974. "Poetics". Trans. S.H. Butcher. In
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elements; this is determined by the technologies of
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645:"Video game user interface design: Diegesis theory"
339:distinguishes between three "diegetic levels". The
213:of the scene to the reader, viewer, or listener by
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51:. Unsourced material may be challenged and removed.
700:Dramatic Theory and Criticism: Greeks to Grotowski
735:. New Accents Ser. London and New York: Methuen.
335:Diegesis is multi-levelled in narrative fiction.
16:Style of fiction storytelling involving narration
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233:" separating the characters from the audience.
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111:Learn how and when to remove this message
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551:The Cambridge Introduction to Narrative
547:Narrative Discourse: An Essay in Method
188: 'narration, narrative', from
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1505:Types of fiction with multiple endings
277:, by means of action that is enacted.
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598:(direct imitation)" (1980, 110–111).
49:adding citations to reliable sources
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13:
733:The Semiotics of Theatre and Drama
617:Trenholm, Richard (2 March 2018).
553:(Cambridge University Press 2002).
205: 'to narrate') is a style of
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1908:Third-person omniscient narrative
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643:Russell, Dave (2 February 2011).
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256:(Greek διήγησις "narration") and
229:elements of a story make up the "
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748:The Theory and Analysis of Drama
403:. The "epos" relates stories by
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592:(narrative description) versus
36:needs additional citations for
1296:Conflict between good and evil
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1:
841:
802:The dictionary definition of
775:Michael Ryan, Melissa Lenos,
541:For definitions of diegesis,
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317:). In diegesis, the narrator
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461:. Titles, subtitles, and
411:). In terms of classical
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1303:Self-fulfilling prophecy
746:Pfister, Manfred. 1977.
1930:Stream of consciousness
1393:Suspension of disbelief
2430:Concepts in aesthetics
1471:Denouement/Catastrophe
1452:Rising action/Epitasis
484:
1817:Utopian and dystopian
607:Elam (1980, 110–111).
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2150:Literary composition
1371:Narrative techniques
1151:Story within a story
963:Supporting character
772:on 2 September 2007.
361:story within a story
295:all-knowing narrator
45:improve this article
2399:Composition studies
2348:Creative nonfiction
2213:Linguistic contrast
2206: / devices
2076:Political narrative
1918:Unreliable narrator
1775:Speculative fiction
1483:Nonlinear narrative
1431:Three-act structure
1291:Deal with the Devil
459:non-diegetic insert
419:form that utilizes
415:, the cinema is an
349:intradiegetic level
341:extradiegetic level
2054:Narrative paradigm
2049:Narrative identity
1979:Dominant narrative
1925:Multiple narrators
1209:Fictional location
1052:Dramatic structure
731:Elam, Keir. 1980.
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357:hypodiegetic level
353:metadiegetic level
291:invisible narrator
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2404:Technical writing
2218:Literary contrast
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2059:Narrative therapy
1493:television series
1438:Freytag's Pyramid
1281:Moral development
1184:Alternate history
894:False protagonist
770:Project Gutenberg
768:. Retrieved from
311:Russian Formalism
266:. For Aristotle,
235:Diegesis in music
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2266:Cut-up technique
2164:Characterization
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2039:Literary science
1582:Narrative poetry
1478:Linear narrative
1388:Stylistic device
1383:Show, don't tell
1346:Figure of speech
1136:Shaggy dog story
879:Characterization
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710:. p. 31–55.
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1984:Fiction writing
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62: –
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56:Find sources:
50:
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40:
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34:This article
32:
28:
23:
22:
19:
2270:
2098:Storytelling
1913:Subjectivity
1903:Third-person
1893:First-person
1887:
1527:
1336:Comic relief
1088:
1081:
1072:Flashforward
1039:
1013:Origin story
995:
958:Straight man
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732:
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693:Bibliography
678:. Retrieved
664:
652:. Retrieved
648:
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626:. Retrieved
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477:In the game
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321:the story.
318:
304:
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282:
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273:rather than
270:
267:
257:
253:
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243:film scoring
227:non-diegetic
226:
222:
215:subjectively
199:
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123:
122:
107:
98:
88:
81:
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67:
55:
43:Please help
38:verification
35:
18:
2440:Narratology
2435:Film theory
2378:Short story
2169:Description
2103:Tellability
2069:Metafiction
2064:Narratology
1836:Theological
1728:Pop culture
1609:Short story
1587:Epic poetry
1308:Time travel
1121:Red herring
1106:Plot device
1077:Frame story
1030:Cliffhanger
973:Tritagonist
948:Protagonist
489:fourth wall
455:insert shot
450:Baby Driver
397:epic poetry
388:situation.
231:fourth wall
200:diēgeîsthai
167:; from
2419:Categories
2373:Screenplay
2327:Stylistics
2286:Plagiarism
2261:Assemblage
2254:Prewriting
2204:Techniques
2184:Literature
2174:Exposition
1989:Continuity
1858:Nonfiction
1822:Underwater
1718:Picaresque
1693:Historical
1678:Epistolary
1550:Fairy tale
1461:Peripeteia
1443:Exposition
1199:Dreamworld
1141:Stereotype
1111:Plot twist
859:Antagonist
529:References
498:be taken.
494:Dead Space
480:Dead Space
463:voice-over
425:the camera
219:characters
193:διηγεῖσθαι
71:newspapers
60:"Diegesis"
1880:Narration
1829:Superhero
1753:Chivalric
1738:Religious
1723:Political
1658:Adventure
1643:Biography
1565:Tall tale
1413:Structure
1398:Symbolism
1366:Narration
1266:Leitmotif
1194:Crossover
1189:Backstory
1146:Story arc
1096:MacGuffin
1067:Flashback
1008:Backstory
884:Confidant
864:Archenemy
851:Character
843:Narrative
584:Aristotle
376:real time
264:Aristotle
2425:The arts
2317:Register
2295:Features
2281:Pastiche
2271:Diegesis
2086:Glossary
2081:Rhetoric
1888:Diegesis
1868:Creative
1841:Thriller
1790:Southern
1708:Paranoid
1703:Nautical
1614:Vignette
1572:Gamebook
1540:Folklore
1447:Protasis
1326:Allegory
1271:Metaphor
1229:parallel
1224:universe
1204:Dystopia
1161:Suspense
1047:Dialogue
1035:Conflict
943:Narrator
915:Hamartia
805:diegesis
766:Republic
680:15 April
589:diegesis
518:Paratext
502:See also
421:dramatic
279:Diegesis
254:Diegesis
223:Diegetic
183:diḗgēsis
176:διήγησις
124:Diegesis
2276:Mimesis
2242:Methods
2016:Prequel
1972:Related
1958:Present
1851:Western
1807:Science
1780:Fantasy
1748:Romance
1698:Mystery
1683:Ergodic
1648:Fiction
1604:Parable
1599:Novella
1529:Fabliau
1500:Premise
1351:Imagery
1341:Diction
1219:country
1176:Setting
1156:Subplot
978:Villain
931:Byronic
675:Polygon
649:Dev.Mag
628:22 July
595:mimesis
513:Mimesis
433:chooses
429:editing
413:poetics
409:showing
405:telling
381:primary
370:In film
283:telling
281:is the
268:mimesis
259:mimesis
207:fiction
85:scholar
2368:Poetry
2223:Cliché
2189:Writer
2020:Sequel
2004:Retcon
1999:Reboot
1963:Future
1797:Horror
1785:Gothic
1770:Satire
1688:Erotic
1555:Legend
1457:Climax
1331:Bathos
1238:Utopia
1126:Reveal
1025:Cliché
1003:Action
997:Ab ovo
936:Tragic
783:
754:
739:
706:
566:
399:) and
315:fabula
249:Origin
87:
80:
73:
66:
58:
2363:Novel
2353:Essay
2341:Forms
2233:Trope
2228:Idiom
2027:Genre
1994:Canon
1945:Tense
1863:Novel
1846:Urban
1758:Prose
1743:Rogue
1668:Crime
1663:Comic
1624:Genre
1594:Novel
1545:Fable
1523:Drama
1488:films
1318:Style
1286:Motif
1276:Moral
1261:Irony
1253:Theme
1166:Trope
762:Plato
654:4 May
401:drama
319:tells
287:story
285:of a
275:tells
271:shows
171:
92:JSTOR
78:books
2358:Joke
2332:Tone
2032:List
1953:Past
1812:Hard
1765:Saga
1673:Docu
1629:List
1560:Myth
1515:Form
1403:Tone
1376:Hook
1361:Mood
1356:Mode
1214:city
1101:Pace
988:Plot
926:Anti
921:Hero
904:Foil
781:ISBN
752:ISBN
737:ISBN
704:ISBN
682:2015
656:2017
630:2021
623:CNET
564:ISBN
427:and
417:epic
395:(or
393:epos
305:For
211:view
64:news
1421:Act
719:doi
545:'s
355:or
347:or
241:or
47:by
2421::
2018:/
673:.
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245:.
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151:iː
148:dʒ
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1627:(
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180:(
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160:s
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142:ə
136:d
133:ˌ
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126:(
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108:(
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99:(
89:·
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75:·
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41:.
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