English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

This paper aims to discuss the parenthetical audiovisual structure in the diary film. First, by combining theories and discussions from linguistic and literature, the author will compare both positive and negative perspectives and examine how the parenthesis is used in different texts. Next, the author will focus on how the notions of parenthesis turn from initially being considered as surplus, subordinate, and inferior, to the re-evaluation of their role as a significant and indispensable part of the text, and most importantly, as the sign of the author’s presence in the text. Borrowing Laura Rascaroli’s concept of “sonic interstices,” the author will look at how the voice-over in the diary film functions and relates itself to the images in the space created by parenthetical insertion. Finally, the author will examine Jonas Mekas’s diary film—The Song of Avila as a case study, analyzing the relationship between the voice-over and the images in this film by applying my concept of a parenthetical structure.

Keeping Diary in Parentheses: The Absent Images and the Visible Voices in Jonas Mekas’s The Song of Avila