(redirected from Extra-diegetic)


n. pl. di·e·ge·ses (-sēz)
1. The presentation of a narrative without direct dramatic imitation of the events, scenes, or characters described.
2. The world that is depicted in a work of narrative art, especially a film.

[Greek diēgēsis, narration, narrative, from diēgeisthai, to describe : dia-, dia- + hēgeisthai, to lead; see sāg- in Indo-European roots.]
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(Literary & Literary Critical Terms) (in narrative film or literature) the fictional setting, events, and characters
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014


- The narrative or plot.
See also related terms for narrative.
Farlex Trivia Dictionary. © 2012 Farlex, Inc. All rights reserved.
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Panikkar), in a change of intensity, the old joker in the circus, dressed in pants and shirt, stands up, starts slapping his thighs, and dancing in jerky movements, performing right in front of the manager to the beat of extra-diegetic sounds of percussion.
Promotional content offers extra-diegetic information that may raise interest for the soap opera, such as news on the making of, interviews with cast and authors, which may be found on sections of the site O Rebu no Ar and Tudo sobre [All about] and in the extra scenes.
Besides this suspension of disbelief, spectators' knowledge of extra-diegetic elements was essential for the film to function.
Romero-Jodar notes that, to further emphasize this concrete relationship to time, the narrative is shot through with time markers suggesting that the fictional time in which the story takes place is simultaneous to the extra-diegetic time of its serial publication.
"Berlin School" movies typically portray contemporary everyday life and pay keen attention to precise framing; they use extra-diegetic music and sound intermittently, and their austere mise-en-scenes inspire the audience's reflection.
On the contrary, in order to give room to all kinds of perspectives on the analysis of Tv commercials, Pennock-Speck and del Saz-Rubio adopt a broad perspective on the interplaying semiotics, distinguishing three main modes which interact simultaneously in meaning-making in TV commercials: The "visual" (still and moving images); the "ear" (music, diegetic and extra-diegetic sound, and paralinguistic features of voice), which, according to Pennock-Speck and del Saz Rubio (2009), can be linked to features such as prestige; and the "structure" (lecture-type ads, montage or mini-dramas), which subsumes or informs the other levels, modes or strata.
This familiarity opens up unique paths for the construction of corporeal meaning on television, as these elements fluctuate in line with both diegetic and extra-diegetic developments.
I incorporate the term extra-diegetic in my analysis of "Tajabone," "Por Toda a Minha Vida," and "Las espigadoras" to show how these songs, despite their placement "outside" the film, inevitably enrich the diegesis.

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