there are sub groups;
* metonymy — a trope through proximity or correspondence, for example referring to actions of the U.S. President as "actions of the White House".
* irony — creating a trope through implying the opposite of the standard meaning, such as describing a bad situation as "good times".
* metaphor — an explanation of an object or idea through juxtaposition of disparate things with a similar characteristic, such as describing a courageous person as having a "heart of a lion".
* synecdoche — related to metonymy and metaphor, creates a play on words by referring to something with a related concept: for example, referring to the whole with the name of a part, such as "hired hands" for workers; a part with the name of the whole, such as "the law" for police officers; the general with the specific, such as "bread" for food; the specific with the general, such as "cat" for a lion; or an obj
* antanaclasis — is the stylistic trope of repeating a single word, but with a different meaning each time. Antanaclasis is a common type of pun, and like other kinds of pun, it is often found in slogans.ect with the material it is made from, such as "bricks and mortar" for a building.
* allegory - A sustained metaphor continued through whole sentences or even through a whole discourse. For example: "The ship of state has sailed through rougher storms than the tempest of these lobbyists."
(Definition above from Wiki-)
The point is though, that new animation writers use 'trope' without fully understanding the root. there is a danger that their first 'funny turn' will do, and does not get a rewrite or seen from a different point of view.
there is a reliance on prior knowledge and experience to get the joke or story, hence the use of fable and folk tale parable etc.
Something 'bubbling under' - is something about to 'explode', it is a sort of countdown to an event before the aftermath.
An excellent explorer of moment is Larson, the farside cartoonist, who picks moments to illustrate ante- or post- event... the moment is about to happen or has either gone. all the movement is in imagination, and unseen.
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Honore Daumier also chooses moments, this one is after a good night, one supposes, and can be empathetic if this experience is a common one. the state of play now with phones and cameras, passers by record aftermath, and also interfere with some situations to make their own humiliation humour.
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