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Drawing on intermedial theory, this article examines how elements traditionally associated with film are adapted in Bret Easton Ellis’s Glamorama, a novel that offers a vivid portrayal of celebrity culture. Ellis uses filmic narrative techniques to mirror the highly visual medium of film with the visual–centric nature of the celebrity world depicted in the novel. Furthermore, he creates a hybrid narrative form that juxtaposes the realist conventions of film with Victor Ward’s fragmented, hyper–visual, and often hallucinatory narration. Ellis uses filmic techniques not to ground the narrative, but to heighten its paranoia and instability, highlighting the performative and constructed nature of reality within a celebrity culture dominated by surfaces, spectacle, and image. While the theoretical framework will provide a foundation for analysing the novel’s interplay between filmic and literary forms, this article will demonstrate which filmic narrative strategies are employed and what they aim to achieve by presenting specific examples from Glamorama. These strategies include, among others, an establishing shot to situate scenes within a broader visual context, a montage, mirrored by quick, successive descriptions or by events edited together to condense time, space, and information, and a soundtrack, adding an auditory dimension to the predominantly visual narrative.

Although it is a common perception that Flaubert's Madame Bovary employs a conventional set of procedures in order to balance story-telling and description, not only is the number of descriptions contained in this work surprisingly low but also these descriptions are rather peculiar and have a specialfunction. This paper focuses on Flaubert's descriptions regarding the cap of the young Bovary, Emma andBovary's wedding cake and the town hall of Yonville; all these are the emblems of bad taste, the philistine ideal of happiness and the artificial sublimeness of the public space. These descriptions raise further questions in connection to the narrator's special point of view, their aims and position as well as the function of these segments. From a textual standpoint, these elements are also paralleled and partially interwoven with a kind of cataloging or listing type of text formation. I contend that they are in fact parodical in quality and that the end effects result in a mockery of the conventions of narration which were about to become established at the time: instead of being conventional, the descriptions of Madame Bovary are ironically counter-conventional.

The article examines a specific type of description: that of a character's physical features, or, in the broader sense, the possibility of ekphrasis in narrative. First of all, I focus on how the looks of persons-characters-are rendered in the nineteenthcentury novel. Then I turn to the means and functions of describing handwriting. Recently corporeal narratology has emphasized that the representation of human bodies within a narrative is always determined by the fact that the body image is historically and culturally constituted. In the nineteenth century the key components of this cultural context were provided by J. C. Lavater writings on physiognomy. Relying on the terminology of Graeme Tytler I reconceptualize, in the language of narratology, the emergence of thepost-Lavaterianportrait.

An examination of the use of Mulvey’s “male gaze” by a homosexual character in the 2017 adaptation of Beauty and the Beast. Explores the potential of the use of this heteronormative narrative technique in the normalization of homosexuality in film and society. 

Purpose This paper aims to stimulate the discussion in the fields of hospitality, tourism and leisure on what exactly constitutes “an experience” and how to measure it; the authors unpack the experience construct into its core constituent elements, namely, emotions. Design/methodology/approach The paper reviews insights from psychology and cognitive neuroscience that define experiences as a fine-grained temporal succession of emotions that occur during an experiential episode. Limitations of current methods for measuring experiences are discussed, after which biometric and neuroscientific methods are reviewed that are optimally geared toward measuring emotions, as they occur during an experience with fine temporal detail. Findings An overview is presented of the available studies within the fields of hospitality, tourism and leisure that use these methodologies. These studies show that using these methodologies provides a fruitful methodological approach to measuring experiences in real time. Practical implications Companies are constantly seeking to create memorable experiences for their customers. The proposed research methodologies allow companies to get a more fine-grained image of what impacts customers over the course of their experience and to actively integrate the use of emotions into creating experiences, as emotions are key to making them memorable. Originality/value The paper sketches the contours of a rapidly emerging framework that unpacks memorable experiences into their constituent element – emotions. It is proposed that this will contribute to a deeper understanding of how consumers experience offerings in the hospitality, tourism and leisure industry.

Our perceptual experiences as of change over time seem to be accompanied by the sense that time flows. The sense of flow is widely regarded as one of the most elusive aspects of temporal experience. In this paper, I develop a novel account of its nature. I give an initial characterization of the sense of flow as the sense that the present changes—in short, as the sense of replacement. Further, I specify the type of account of the sense of replacement to be developed: since the sense that the present changes will be assumed to be grounded in the perceptual representation that the present changes, my focus will be to explain the perceptual representation that the present changes. I develop an account of the synchronic perceptual representation of the present. Finally, I develop an account of the diachronic perceptual representation of the present as changing.

Thomas Pynchon's Inherent Vice, the concluding novel in his California trilogy exhibits a curious allegorical structure of California and, by extension, America, by way of descriptions of historical reference. This paper argues that these descriptions constitute a system that reflects the contemporary moral and political anxieties of post-postmodern fiction in the immediate context of the novel's publication. What is more, the text employs Pynchon's \"stylistic, residual postmodernism\" in order to put forth a powerful cautionary tale when relying on and reconfiguring the generic codes o/noir.

The ubiquity of short videos has demonstrated vast potential for health communication. An expansion of research has examined the persuasive effect of health communication in short videos, yet a synthesis of the research is lacking. This paper aims to provide an overview of the literature by examining the persuasive effect of health communication in short videos, offering guidance for researchers and practitioners. In particular, it seeks to address 4 key research questions: What are the characteristics of short videos, samples, and research designs in short video-based health communication literature? What theories underpin the short video-based health communication literature? What are the persuasive effects of health communication in short videos? and What directions should future research in this area take? Following the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) guidelines, an electronic search of 10 databases up to March 10, 2023, generated 4118 results. After the full-text screening, 18 articles met the eligibility criteria. The current research lacks a uniform definition of short videos, demonstrates sample biases in location and education, and adopts limited methodologies. Most studies in this synthesis are theoretically grounded or use theoretical concepts, which are predominantly well examined in persuasion research. Moreover, relevant topics and suitable themes are effective in persuasive health communication outcomes, whereas the impact of diverse narrative techniques remains ambiguous. We recommend that future research extends the definition of short videos beyond time constraints and explores non-Western and less-educated populations. In addition, researchers should consider diverse methods to provide a more comprehensive examination and investigate the impact of audience targeting and narrative techniques in short video health communication. Finally, investigating how the unique aspects of short videos interact with or challenge traditional persuasion theories is essential.

Abstract Background Self-disturbances are considered core features of schizophrenia spectrum disorders, and are present in the prodromal, the early psychotic and in the chronic phase. Self-disturbances are also present at first treatment in some patients with psychotic disorders outside of the schizophrenia spectrum. There is limited knowledge about the stability of self-disturbances over time. The aim is to explore the stability of self-disturbances in a seven year follow-up of first episode patients and to examine the association between self-disturbances at start of treatment and diagnostic changes at follow-up. Methods Longitudinal study of 56 patients recruited at their first treatment for an affective or non-affective psychotic disorder. Self-disturbances were assessed by the Examination of Anomalous Self-Experience (EASE), while diagnostic categories, symptom severity, and functioning were assessed with standard clinical instruments. At baseline we registered life-time experiences of self-disturbances. At follow-up we focused on self-disturbances experienced the last two years Results At follow-up 35 patients were diagnosed with schizophrenia or a schizoaffective disorder (schizophrenia) and 21 with a bipolar, psychotic disorder or delusional disorder (non-schizophrenia). The level of self-disturbances was significant lower at follow-up than at baseline in patients with schizophrenia. Patients with schizophrenia had significantly higher levels of self-disturbances both at baseline and at follow up than patients in the non-schizophrenia group, who showed stable low levels of self-disturbances. In the schizophrenia group the EASE domain “Cognition and stream of consciousness”, was the most stable. There were no changes into or out of the schizophrenia group. The four patients in the non-schizophrenia group with relatively high EASE total scores at baseline (≥ 15) did not convert to schizophrenia at follow-up, as hypothesized. No patients in the non-schizophrenia group who increased their EASE score from baseline to follow-up converted to the schizophrenia group. Discussion EASE domain “Cognition and stream of consciousness”, have previously been described as some of the first self-disturbances appearing in the prodromal phase and are also found to be the most predictive of transition to full-threshold psychosis in an Ultra High Risk group. The results from the present study show that these phenomena are also the most stable over time. We did not find that patients outside the schizophrenia group, converted to schizophrenia, neither among those who had high level of self-disturbances at baseline nor those who had increased levels of self-disturbances at follow-up. The current study was conducted in rural areas with considerable distances to the specialized psychiatric health services, and consequently with long duration of untreated psychosis. The observed diagnostic stability is thus to be expected if symptomatic developments relevant for diagnosis take place early in the first episode, in this case before the first treatment contact.