Why does a snowy view always make it seem like a holiday ? and why does the expectation of snow always seem like a good thing …. Or am I just a very flaky sort ?
No snow to speak of, and yet I am still pondering and distracting myself with the thought, even though I am supposed to be writing about Recife, a city which I am certain has never seen a snowflake.
Let us banish the doubts and evaluate the results of my mind mapping on Hybridity. I did a strong speaking out loud simplification, but did not record it.
So do I do as I suggested and continue mind mapping work that I have already carried out?
Or do I start doing some editing of work I already did in the past, given that I only have about 500 words to begin with for my descriptive understanding of the process of hybridity anyway.
It would be nice to map out particular places in the whole dissertation where I am likely to refer to hybridity. Maybe ask myself why this particular theoretical descriptive idea can be of use in my dissertation as a whole. A question never particularly asked in this theory – response method before, because the nature of the dissertation is to ‘look to the text’ (or meaning?) of the work under examination in order to elucidate a contribution to academic learning. This is a film which at heart is critical of the influence of culture, and of ‘textual’, and ‘semiotic’ descriptions. So a textual or semiotic approach has not really seemed appropriate. It is not entirely a fictional piece, in the sense that it captures and uses realities of previous cultural history as well as cinematic shots of the real contemporary streets of Recife and its people. It is very difficult to honestly extricate this film from the social and cultural context in which it is both made and which it seeks to expand knowledge of. Paying attention only to the narrative and the characters is to miss half the meaning of the film. I check and find I had the same kind of discussion with myself, and as I recall, with a couple of Brazilian academics in May last year.
I did decide early on to pay considerable attention to the ‘geography’ of the film. In part this was because the city of Recife is familiar to me, and I can spot the particular locations and the significance of how some of them presented. In addition, rather than an associated ‘semiotic’, even a visual reading of some of the locations and events, it became apparent that some of the scenes were essentially recreations of previous literary descriptions of the city from some of it’s most famous writers and their most well known works. But I did not really understand the subversive nature of the yellow metaphor in the film until I read Tempo Amarelo, the book by Renato Carneiro Campos that is quoted in the film. About RCC -
No snow to speak of, and yet I am still pondering and distracting myself with the thought, even though I am supposed to be writing about Recife, a city which I am certain has never seen a snowflake.
Let us banish the doubts and evaluate the results of my mind mapping on Hybridity. I did a strong speaking out loud simplification, but did not record it.
So do I do as I suggested and continue mind mapping work that I have already carried out?
Or do I start doing some editing of work I already did in the past, given that I only have about 500 words to begin with for my descriptive understanding of the process of hybridity anyway.
It would be nice to map out particular places in the whole dissertation where I am likely to refer to hybridity. Maybe ask myself why this particular theoretical descriptive idea can be of use in my dissertation as a whole. A question never particularly asked in this theory – response method before, because the nature of the dissertation is to ‘look to the text’ (or meaning?) of the work under examination in order to elucidate a contribution to academic learning. This is a film which at heart is critical of the influence of culture, and of ‘textual’, and ‘semiotic’ descriptions. So a textual or semiotic approach has not really seemed appropriate. It is not entirely a fictional piece, in the sense that it captures and uses realities of previous cultural history as well as cinematic shots of the real contemporary streets of Recife and its people. It is very difficult to honestly extricate this film from the social and cultural context in which it is both made and which it seeks to expand knowledge of. Paying attention only to the narrative and the characters is to miss half the meaning of the film. I check and find I had the same kind of discussion with myself, and as I recall, with a couple of Brazilian academics in May last year.
I did decide early on to pay considerable attention to the ‘geography’ of the film. In part this was because the city of Recife is familiar to me, and I can spot the particular locations and the significance of how some of them presented. In addition, rather than an associated ‘semiotic’, even a visual reading of some of the locations and events, it became apparent that some of the scenes were essentially recreations of previous literary descriptions of the city from some of it’s most famous writers and their most well known works. But I did not really understand the subversive nature of the yellow metaphor in the film until I read Tempo Amarelo, the book by Renato Carneiro Campos that is quoted in the film. About RCC -
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