[Commlist] call for book chapter - Studies on Cinematography and Narrative in Film: Sequels, Serials, and Trilogies

*Call For Book Chapter*


/Studies on Cinematography and Narrative in Film: Sequels, Serials, and 
Trilogies /

Publishing House: IGI Global


To propose a chapter, please follow the link:

https://www.igi-global.com/publish/call-for-papers/call-details/6870

*/Calendar/*

Proposals Submission Deadline: November 25, 2023

Full Chapters Due: February 11, 2024

Submission Date: February 11, 2024

Deadline for sending referee reports to authors - 24 March 2024

Deadline for revisions after referee corrections - 11 May 2024

Date for final checks by author and editor - May 25, 2024

Estimated release window 15-25 June 2024


All authors and referees must enter IGI global's website with any e-mail 
address and open their free membership. The entire process mentioned in 
the calendar above will be carried out through this portal after the 
profiles will be opened in IGI Global for both authors and referees. 
Abstracts must be uploaded to the IGI Global system in English by the 
abstract submission deadline specified above. Summaries must include 
purpose, hypothesis, scope, method, population & sample, and predictions 
about the result. The full texts of the written sections must be 
uploaded to the system by February 10, 2024 at the latest. Full texts 
should be between 7000-10000 words. All sections will be evaluated by 2 
referees through blind referee application. All sections must be written 
in accordance with the writing rules (APA7) determined by IGI Global.


*/Introduction/*

The concept of cinematography consists of many visual and auditory 
design elements such as camera use, editing, space design, 
mise-en-scene, costume, make-up, composition, effects, sound and 
directing. Narrative, on the other hand, creates a schema and sequence 
on how to visualize a film in the form of a script. The ideas of many 
theorists on cinema narrative, starting from Aristotle and extending to 
Vladimir Propp, Carl Gustav Jung, Joseph Campbell, Christopher Vogler, 
Julien Algirdas Greimas, are instructive. Their analysis is also a map 
for the candidates who will construct the narrative. The first film 
series shot as a continuation in the history of cinema is the Sherlock 
Holmes films shot shortly after the invention of cinema. This series, 
which started with Sherlock Holmes I (Viggo Larsen, 1908), continued 
until 1910 with a total of 6 films produced by the same director. 
“Making a sequel wasn't something Hollywood used very often until the 
late 1970s. With the development of popular culture, the number of 
applications for sequels has gradually increased; With the Oscar for The 
Godfather, a 1972 Francis Ford Coppola movie, the sequel of this movie 
was also encouraged” (Göral, 2003, p.105-106). There are many elements 
in the concept of visual continuity and they are all interrelated. In 
films or film series that are described as sequels, establishing a 
visual integrity relationship between films comes to the fore. The 
concept of the sequel appears in two ways. Sometimes, while the ideas 
are scripted, the story is divided into more than one part. Sometimes 
the story is planned as a single movie, and after a certain time, it can 
be realized as a follow-up movie/films for different reasons. In both 
systems of expression, it is necessary to seek harmony between all 
elements of visual design. The most important design element in the 
sequels is the space itself. Indiana Jones returns to school with each 
new movie, but also shows us new mysterious locations. In Star Wars, new 
planets are always appearing 'in a galaxy far far away'; Alien features 
the ramshackle spaceship and the same creature on board. While Mad Max 
takes the place of dystopian plains, Jurassic Park tirelessly shows us a 
dinosaur island with steep slopes at the opening of each movie. “In 
classical styles of continuity, space is a fixed and rigid container 
that remains the same no matter what happens in the narrative; even when 
the chronology of the film is mixed with flashbacks, time flows at a 
linear and uniform rate” (Shaviro, 2021, p.67). Regardless of how these 
spaces are designed, real or artificial, they exist to relive the past 
pleasure of an audience watching a sequel. But there are also different 
ideas about visual continuity. Continuity in all elements may not be 
achieved with complete commitment to the essence. “From Jacques 
Derrida's perspective, a complement (in our case it is the complementary 
cinema itself) is never unconditionally or seamlessly articulated with 
the main term it serves as an auxiliary or a supplement” (Denson & 
Leyda, 2021, p.25) . In reaching this conclusion, it is necessary to 
mention Bordwell's ideas. Bordwell (2010), in a study investigating the 
format, proves that the transitions between images are faster, 
especially in cinema after 1995, where computer aided images increased, 
and argues that the changes made in image design, editing and effects 
are correct and serve the main purpose as a perception orientation. In 
Bordwell's article Intensified Continuity, it is stated: Even the 
flamboyant camera movements, flamboyant editing and special effects of 
the condensed style still serve the same ultimate purpose as classical 
narration; to make the audience understand the story and surrender to 
the impressiveness of the story” (Bordwell, 2010, p. 148). Another 
researcher, Steven Shaviro (2021), defined Bordwell's concept of 
'condensed continuity' as 'post-continuity' by reading through the 
continuity of effects, and criticizing the film production formed in 
this way as 'chaos cinema'. “The importance of the instantaneous impact 
created by the effects overcame the concerns of continuity both in the 
sequencing of the frames and at the overall narrative level” (Shaviro, 
2021, p.59). Narratively, reintroducing characters from the first 
movie/s (Marion Ravenwood, who reappeared 18 years later in Indiana 
Jones), re-framing of an animatronically created animal or creature 
(T-Rex or Alien in Jurassic Park), different using transitions between 
images and flowing text in the introduction (Star Wars), creating a hero 
or enemy that instills invincibility with different types of visual 
effects (Terminator and T-1000 characters in Terminator) will be the 
main visual decisions expected from a sequel. Cinema critic Burak Göral 
(Göral, 2003, pp.115-116) answers the questions of how a good sequel is 
and how to make sequels as follows: “What would a good sequel look like? 
- In the sequel, one more step should be taken to recognize the 
personality of the main character in the first movie. The new movie 
should take the audience a bit further to get to know the main character 
a little better. - Similar scenes (situations) from the first movie 
should not be remade this time with new characters. - The first movie 
should be in a structure suitable for the sequel. Characters should be 
able to carry a second movie. If not, the movie will be a forced sequel. 
- The main character should not act in the second movie that contradicts 
the character drawn in the first movie. You should go through the same 
character traits. - If possible, the scriptwriter or director of the 
sequel should be the same as that of the source movie. Because if the 
event is left only to the producer of the first film, bad ideas that 
harm the first film in the name of being commercial emerge. - When you 
give the audience a sequel, you commit to give the audience at least as 
much pleasure as in the first movie. Therefore, it should bear 
similarities with the first film, from its poster, logo, credits to 
advertising strategies. How are sequels made? - The original title logos 
of the sequels must retain their character in each film. The logo and 
opening credits of the movie should be similar or identical to the 
original movie in order not to alienate the audience and to promise that 
they will enjoy the sequel as well. - Names are indicated either with 
numbers such as 2,3,4,… or using Roman numerals. Most have a descriptive 
extra name. ("Cocon: The Return", "A Nightmare on Elm Street 2: Freddy's 
Revenge") Another factor in ensuring visual continuity is the creative 
team of the film. If the sequel is being shot by another director or 
producer, it becomes even more important. In the history of cinema, 
there are many sequels that are made on the axis of 'bespoke' when 
appropriate, and when it comes to giving a new perspective. For example, 
after Disney bought all the rights of Star Wars, there is a visual 
integrity problem in the third trilogy, which was completed in 2015-2019 
in Disney production. The original creator was out and Disney had these 
projects shot by different directors. “The third trilogy has been a 
series that remains connected to the root of the universe, but does not 
make a serious contribution to the universe in terms of story depth” 
(Seçmen, 2020, p.508). However, Batman, the DC Comics superhero shot by 
many directors both as a single movie and as sequels, has been 
visualized with a different interpretation in the hands of many 
directors. In the Batman (Batman, 1989 & 1992) series consisting of two 
films, Tim Burton fictionalizes the character in a more fairy-tale way 
and in accordance with his own fantasy world; director Christopher 
Nolan's trilogy of films Batman Begins (Batman Begins, 2005), The Dark 
Knight (The Dark Knight, 2008) and The Dark Knight Rises (The Dark 
Knight Rises, 2012) set Batman in a darker Gotham city and a tough 
character. as it presents. The trilogy is a product that is visually 
different from the other Batman films, but riveted its visual continuity 
as a trilogy with a strong design. This comes from director Nolan's 
desire to reveal his perspective and personal signature.

REFERENCES

Bordwell, D., (2010). Condensed Continuity Editing: Visual Style in 
Contemporary American Cinema (Trans. Y. G. Topçu). S. Büker & Y. G. 
Topçu (Ed.), Cinema: History-Theory-Criticism (pp. 137-168). Istanbul: 
Red Cat Publications.

Denson, S., Leyda, J. (2021). Reflections on Post-Cinema: Introduction 
(Trans. P. Fontini). S. Denson & J. Leyda (Ed.), Post-Cinema Theorizing 
of 21st Century Cinema (pp. 13-30). Istanbul: Notabene Publications.

Göral, B. (2003). Hollywood from Burak's Camera (1st Edition). Istanbul: 
Plato Film Publishing.

Seçmen, E. A. (2020). Dijitalin Sineması (1st Edition). Istanbul: Doruk 
Publications.

Shaviro, S. (2021). Post-Continuity: Introduction (Trans. P. Fontini). 
S. Denson & J. Leyda (Ed.), Post-Cinema Theorizing of 21st Century 
Cinema (pp. 59-72). Istanbul: Notabene Publications.*/
/*


*/Regarding Potential Contents and Samples/*

Book chapter topics should be on the axis of analysis examining the 
sequels / serial films and trilogies on the axis of Cinematography and 
Narrative. After the clarification of the side details about the sample 
and content you intend to work on, we can contact me at any time and 
exchange ideas to clarify the section. In the first editorial work, 
Examinations and Analysis of Sequels and Serials in the Film Industry, 
Evil Dead, The Matrix, Planet of The Apes, Nolan's Batman Trilogy, 
Avatar, 28 Days & 28 Weeks Later, Star Wars, Rocky, Ocean's, Harry 
Potter, Jurassic Park, Blade Runner cinematographic and narrative 
analyzes are included. In this new project, completely different content 
will be included from the first one. As a chapter writer in the book, it 
will be possible to write chapters on the examples in the list below, 
including the main axes of cinematography and narrative.

TOY STORY

THE TERMINATOR 1-2

BEFORE SUNRISE & MIDNIGHT & SUNSET

A NIGHTMARE ON ELM STREET

SHERLOCK HOLMES I-II

INCREDIBLES I & II

POLANSKI Apartment Trilogy

HALLOWEEN

JOHN WICK

LARS VON TRIER'S trılogy

HELLBOY

SCREAM

THE BOURNE

TWILIGHT

THREE COLOURS: BLUE & WHITE & RED

FRANKENSTEIN & BRIDE OF FRANKENSTEIN

KILL BILL I & II

TRAINSPOTTING & T2 TRAINSPOTTING

A FISTFUL OF DOLLARS & FOR A FEW DOLLARS MORE & THE GOOD THE BAD AND THE 
UGLY

BLADE

JAWS

SPIDER-MAN

TRANSFORMERS

SYMPATHY FOR MR. VENGEANCE & OLD BOY & LADY VENGEANCE


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