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    STUDIA EPHEMERIDES - Issue no. 1 / 2014  

Authors:  .
  Abstract:  A text can only function within its context. The context produces the text and joins it in the creating of meaning, as well as a publication cannot survive outward the society, which acts like a procreator. Professional movie review, with its origin in the mainstream media, remained an institution of the field, even though the ratings and the user generated content specific to the World Wide Web threaten to unseat or at least, to win a place as important in the eyes of consumers regarding the appropriate evaluation of movies. The (loud) advantage of professional reviews upon Internet’s specific content is adding a contextual dimension of the movie analyzed in the text. The references, the cues and the voluntary use of intertextuality’s powers are the main trump card that professional movie reviewers have upon hypertext and the avalanche of Likes, Comments and Ratings.After a theoretical foundation that will try to establish the main courses of texts’ analysis methods and the key structural, linguistic, stylistic and pragmatic features of the review in the field of journalistic genres, our paper’s main target is to observe a few essential constants in forming and structuring the contextual function of the movie reviews published in "New York Times". Thus, we will analyze the characteristics of cultural references from texts at all their three levels of language: structural, linguistic and semantic area. The sight our research aims to attain is a diachronic one, approaching, on one hand, the movie reviews published in 2002, and on the other hand, the ones published in 2013. The objective is to arrive to a parallel between the data obtained looking for some real facts of the changes brought out by the contextual dimension of "New York Times" movie reviews of the last decade.

Keywords: movie review, New York Times, context, cultural reference
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