DOCSLIB.ORG

Glassic Film Theory and Semiotics

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Glassic Film Theory and Semiotics Glassicfilm theory and semiotics AnthonyEasthope Filmtheory had to strugglea surprisinglylong time obviouslycontaminated with unprocessedsensation, beforeit couldbecome a proper theory of film. Diffi- too liableto documentaryappropriation, too easily cultyarosefrom the very feature which ensured cinema turnedto usefulsocial purposes. itsuniversality: ever since the earliestaudiences flung themselvesout of the way of an oncomingscreen locomotive,film hasstunned us by itsseeming capa- Glassicfilm theory cityto reproducereality transparently, immediately, directly.Because of this realism,serious analysis of As Aaron Scharf(1 969) shows in convincingdetail, the filmwas con{ronted from the first by antagonismfrom early impact of photography on painting and notions thesmothering inheritance of Kantianaesthetics. of art was enormous. Although encouraging some (1 ln Ihe Critigueof Judgement 790)Kant contrasts artists into innovation and experiment, photography sensationand contemplation,singular and universal, alsoserved to strengthenand substantiatethe opposi- interestedand disinterested (useful and useless).Aes- tion between art and craft.the aestheticand the useful. theticexperience isopposed to merelysensuous grat- As'moving pictures',produced when light isprojected ification(eating, for example)because it combines through strips of celluloid onto a screen, cinematic sensation-through hearing and vision-with contem- images have a double intimacywith realitysince they plation.The aesthetic object is focused on asa singu- are both caused by it (light from these objects marked larity,not as an instanceof a generalconcept, for its photosensitivefilm) and also resemble it. lt was only ownsake and not for any kind of usefulnessor social too tempting to deny cinema a statusas art. purpose.All thiskicks against what cinema appears to In the face of a seemingly incontestablenaturalism, do best;its renderingof the real seemsjust too the labour of classicfilm theory was to designate the E CRITICALAPPROACHES specificvalue of cinema-what has allowed it to pro- which the photographed image originates.Yetthough vide such a compelling representationof modernity. he arguesthat film exceeds reality,Arnheim does not Forthistwo main strategiesemerged. The creationists challengethe view that film is powerfullylnfluenced by (orformalists),including RudolfArnheim, SergeiEisen- its photographic resemblanceto reality.The realists, stein, and 86la Bal5zs,defend cinema as an art form led by Andr6 Bazin,make that relation the essential which goes beyond realism,while the realists,partrcu- virtue of the medium, as,for example, in this passage: larly Siegfried Kracauerand Andr6 Bazin,apprecrate Theobjective nature of photographyconfers on it a quality cinema just because it does provide such an exact of credibilityabsent from all other picture-making. Inspite of representation of reality. anyobjections our criticalspirit may offer, we areforced to Creationism iswel I representedby RudolfArn heim's acceptas realthe existenceof the object reproduced,actu- book Film(1933), which setsout'to refutethe assertron ally re-presented,set beforeus, that is to say,in time and that film is nothing but the feeble mechanicalrepro- space.Photography enjoys a certainadvantage in virtueof duction of real life' (1958:37). Arnheim points out first thistransference of realityfrom the thing to itsreproduction. of all how the experienceof sitting in the cinema differs (Bazin1967:13-14) from ourempiricalperception of theeverydayworld. In This passagemakes it clearthat Bazinis aware that in everydayexperience the world is three-dimensional, 're-pre- cinema filmed objects are not presented but while in the cinema all we get is a flat screen;our life is sented'. And elsewhere he exolains how he varues lived colour with sound, while cinema is black and cinematic reality because it has an almost Brechtian white, and silent (or was, up to 1929);in our ordinary effect in leaving the viewer free to criticize, when world we can look whereverwe want within our field o{ more obviously constructed cinema (Eisenstein,for vision,while cinema limits what we see within the instance) aims to manipulate the viewer's under- maskedframe of the screen. standing. Formalisttheory (Arnheim)and realisttheory (Bazin) Formalisttheory (Arnheim)and realist appear to oppose each other. But what is crucial,and what marks off classicfilm theory, is the assumption theory (Bazin)appear to oppose each they share. Formalist theory values cinema to the 'the other. But both positionssuppose that extent that it is, in Arnheimt phrase, more than cinema,based as it is in the feeble mechanicalreoroduction of real life':realistthe- 'a photographic process,must be ory values cinema to the extent that it adheres to which man assessedas in part a mechanical mechanicalreproduction in the making of plays no part', as Bazinsays (1967: 12).Both positions reproduction,whether feeble or supposethat cinema,based as it is in the photographic convincing. process, must be assessedas in part a mechanical reproduction, whether feeble or convincing. lt was 'l not until the 960s that this view-the naturalist,or Arnheim celebratesthe many effectsthrough which reflectionist,fallacy-began to be finally overthrown cinema transformsand constructsa reality,including in film theory. cameraangles and movement, focus, lighting effects, framing, altered motion, superimposition, special lenses.And, in addition to these features pertaining mainly to the single shot, cinema works through 1968 and after sequencesof shots edited together, producing daz- zling and significanteffects of contrastand repetition, Film theory was able to develop into a fully fledged metonymy and metaphor. Editing makes something account of cinema because it staged what Stephen 'the availableto someone in the cinema that could never Heath refersto as encounter of Marxism and psy- be seen by any empiricalviewer of what was originally choanalysison the terrain of semiotics'(1916: 11).Of filmed. these three theoretical interventions, semiotics (or Arnheim is one of the first to codify the specific semiology)arrived first. In a posthumouswork, Course resourcesof cinema and the many ways it produces in General Linguistics,published in 1916, Saussure meaningsbeyond anything present in the realityfrom introduced into the study of language a number of E CLASSICFILM THEORY AND SEMIOTICS 'Yesterday dreoreticaldistinctions, of which two in particurar since bites man' is not a meaningful sen- provedfruitful when carried over into film theory. tence. Fromancient rhetoric, Saussure revived the dis- In other words, it was possible to think of the syn- tinctionbetween signifier and signified to analyse tagmatic axis as a consistent structure which would 'words'. dre naiVeconcept of In any utterance the remain the same even when different paradigmattc levelof the signifier is made up from the sounds terms were substituted along it. ln 1928 Vladimir (phonemes)selected for use by a particular lan- Propp applied this principle to the analysisof narra- guage,arranged in a temporal order; while that of tive, discerningacross 115 Russianfolk storiesa com- 'functions'. the signifiedconsists of the meanings assigned to mon structure consisting of thirty-one 'The anygroup of signifiers.Signifiers consist of entirely Thus, function (Propp 1968: 11), hero leaves 'lvan arbitrarysounds related only to each other in an home', can be realized as easily by is sent to 'Dmitri internallyself-consistent system, and it is purely a kill the dragon' as by goes in search of the matterof conventionwhat set of signifiersgive rise princess'. to a certainmeaning. In modern English, for ex- A semioticanalysis of film narrativewas initiatedwith 'mare' ample,the sounds represented by can enthusiasmand some effect,notably by Raymond Bel- 'female (1972) openonto the meaning horse' or possibly lour in his study of fhe Birds(USA, 1963)and by 'municipal leader' (mayor),while a very similar group PeterWollen (1982),also discussingHitchcock, in his (USA, of signifiersin French ('mer'l'mdre') open onto the account of North by Northwest 1959). Bellour 'sea' 'mother'. meanings and discussesthe Bodega Bay sequence shot by shot, while Wollen aimsfor a Proppiananalysis of whote A principleis implied by Saussure'sdistinction, that the movie. Both examinations, thematerialorganization of a languageisontologically plausible as they are in detail, suffer from what are now recognized as the priortoany meaning it produces. During the 1960s inevitable assumptionsof formal narrativeanalysis- semioticshad a decisive impact upon film theory by that there isonly a singlenarrative and not a number of concentratingattention on the question what were the simultaneousnarrative meanings, that the narrativeis specificproperties of film, its specifica differentia, dis- 'out fixed once and for all there' in the text and not tinguishingit from other forms of signification(novets constructed in a relation between text and reader. anddrama, for example). Narrativeanalysis of film on the precedent of Propp Thereare certain problems in detail, however. For had the definite benefit of shiftingargument awayfrom whileSaussure's distinction between signifierand sig- any question of the relation or correspondence nifiedapplies perfectlyto a language,it is much harder between a film and some real it might be supposed togetittoworkforavisual medium suchasfilm. In any to reflect.lt focused on film as text but did so only by famoussequence, such as that at the end
Load more

Recommended publications
  • Cinephilia Or the Uses of Disenchantment 2005
    Repositorium für die Medienwissenschaft Thomas Elsaesser Cinephilia or the Uses of Disenchantment 2005 https://doi.org/10.25969/mediarep/11988 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Elsaesser, Thomas: Cinephilia or the Uses of Disenchantment. In: Marijke de Valck, Malte Hagener (Hg.): Cinephilia. Movies, Love and Memory. Amsterdam: Amsterdam University Press 2005, S. 27– 43. DOI: https://doi.org/10.25969/mediarep/11988. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0 Lizenz zur Verfügung Attribution - Non Commercial 3.0 License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0 https://creativecommons.org/licenses/by-nc/3.0 Cinephilia or the Uses of Disenchantment Thomas Elsaesser The Meaning and Memory of a Word It is hard to ignore that the word “cinephile” is a French coinage. Used as a noun in English, it designates someone who as easily emanates cachet as pre- tension, of the sort often associated with style items or fashion habits imported from France. As an adjective, however, “cinéphile” describes a state of mind and an emotion that, one the whole, has been seductive to a happy few while proving beneficial to film culture in general. The term “cinephilia,” finally, re- verberates with nostalgia and dedication, with longings and discrimination, and it evokes, at least to my generation, more than a passion for going to the movies, and only a little less than an entire attitude toward life.
    [Show full text]
  • Viewing Film from a Communication Perspective
    Communication and Theater Association of Minnesota Journal Volume 36 Article 6 January 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Purdue University, [email protected] Rebekah L. Fox Purdue University Jennifer L. Bezek Purdue University Follow this and additional works at: https://cornerstone.lib.mnsu.edu/ctamj Part of the Curriculum and Social Inquiry Commons, Film and Media Studies Commons, and the Speech and Rhetorical Studies Commons Recommended Citation Clair, R., Fox, R., & Bezek, J. (2009). Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom. Communication and Theater Association of Minnesota Journal, 36, 70-87. This Teacher's Workbook is brought to you for free and open access by Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. It has been accepted for inclusion in Communication and Theater Association of Minnesota Journal by an authorized editor of Cornerstone: A Collection of Scholarly and Creative Works for Minnesota State University, Mankato. Clair et al.: Viewing Film from a Communication Perspective: Film as Public Rel 70 CTAMJ Summer 2009 Viewing Film from a Communication Perspective: Film as Public Relations, Product Placement, and Rhetorical Advocacy in the College Classroom Robin Patric Clair Professor [email protected] Rebekah L. Fox, Ph.D. Jennifer L. Bezek, M.A. Department of Communication Purdue University West Lafayette, IN ABSTRACT Academics approach film from multiple perspectives, including critical, literary, rhetorical, and managerial approaches. Furthermore, and outside of film studies courses, films are frequently used as a pedagogical tool.
    [Show full text]
  • {DOWNLOAD} Semiotics: the Basics
    SEMIOTICS: THE BASICS PDF, EPUB, EBOOK Daniel Chandler | 328 pages | 01 Jul 2007 | Taylor & Francis Ltd | 9780415363754 | English | London, United Kingdom semiotics | Definition, Theory, Examples, & Facts | Britannica Get exclusive access to content from our First Edition with your subscription. Subscribe today. Learn More in these related Britannica articles:. The current usage was recommended especially by Rudolf Carnap—see his Introduction to Semantics and…. Each of these semiotic systems may in turn be represented by a notational system, a system for representing the semiotic system. Thus, writing can be defined formally as a notational system…. History at your fingertips. Sign up here to see what happened On This Day , every day in your inbox! Topics from this paper. Interaction Information. Chandler software Literal mathematical logic. Citation Type. Has PDF. Publication Type. More Filters. The semiotic perspectives of peirce and saussure: A brief comparative study. Open Access. Research Feed. View 1 excerpt, cites background. These insights brought Barthes very much in line with similar Marxist theory. Algirdas Julien Greimas — developed a structural version of semiotics named, "generative semiotics", trying to shift the focus of discipline from signs to systems of signification. Thomas A. Sebeok — , a student of Charles W. Morris, was a prolific and wide-ranging American semiotician. Although he insisted that animals are not capable of language, he expanded the purview of semiotics to include non-human signaling and communication systems, thus raising some of the issues addressed by philosophy of mind and coining the term zoosemiotics. Sebeok insisted that all communication was made possible by the relationship between an organism and the environment in which it lives.
    [Show full text]
  • Ngafilms-Umberto-Eco-And-Film.Pdf
    The universe of action depicted by the cinema is already a universe of signs. — umberto eco, “sulle articolazioni del codice cinematografico” 1 IPERSIGNIFICATO: UMBERTO ECO AND FILM A literary and cultural giant whose influence can be seen in many aspects of our rapidly evolving media, Umberto Eco (1932 – 2016) produced a critical oeuvre that remains import- ant to the study of cinema. Throughout decades of interdis- ciplinary writing, Eco seamlessly moved between academic work, semiotic analysis, acclaimed novels, and more informal cultural commentary, leaving indelible marks on each area. Eco once explained his approach as concerned “with the problems of language, communication, organization of the systems of signs that we use to describe the world and to tell it to one another,” acknowledging the relationship between his own work and the field of semiotics.2 A tracing of Eco’s theories inevitably recounts the history of cinema and reveals a mutual development. The film series at the National Gallery to cinematic language; if language is traditionally a pragmatic of Art illustrates the inextricable link between his work and its solution through which meaning is inevitably impoverished, subject matter, as the cinema itself was informed and chal- the moving image allows us to reclaim some of that meaning, lenged by his theoretical approach while also enriched by his a result the writer would refer to as ipersignificato.3 contributions. The films presented in the Gallery’s series distill Eco’s work Although his direct encounters with filmmaking were fleet- and map his critical footsteps, following a loose chronology ing — among them a near screenwriting collaboration with that illustrates the development of the theory and practice of Michelangelo Antonioni — Eco was, among many other filmmaking over the past century, while noting the progres- innovative roles, a founding father of film semiotics, a disci- sive awareness of what a language of film has the potential to pline propelled forward in a series of memorable debates at be.
    [Show full text]
  • 1. Christian Metz and Film Semiology
    Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2018 Christian Metz and film semiology – dynamics within and on the edges of the ‘model’ : an introduction Tröhler, Margrit Abstract: This chapter aims to introduce readers to the semiological film theory of Christian Metz. First, it presents the premises of film semiology and gives a broad outline of its three phases, in whichMetz confronts cinema with concepts from linguistics, psychoanalysis, and the notion of enunciation. The accent is then put on Metz’s initial meta-theoretical gesture and on the methodical self-reflection that characterizes his writing throughout. The final section considers the edges of his ‘model’ and showshow its underlying conditions function as prerequisites for the ‘cinematic institution’ that Metz is interested in. DOI: https://doi.org/10.5117/9789089648921/CH01 Posted at the Zurich Open Repository and Archive, University of Zurich ZORA URL: https://doi.org/10.5167/uzh-162004 Book Section Published Version The following work is licensed under a Creative Commons: Attribution-NonCommercial-NoDerivs 3.0 Unported (CC BY-NC-ND 3.0) License. Originally published at: Tröhler, Margrit (2018). Christian Metz and film semiology – dynamics within and on the edges ofthe ‘model’ : an introduction. In: Tröhler, Margrit; Kirsten, Guido. Christian Metz and the codes of cinema : film semiology and beyond. Amsterdam: Amsterdam University Press, 15-66. DOI: https://doi.org/10.5117/9789089648921/CH01 Figure 1.1: Portrait of Christian Metz (undated) Amsterdam University Press 1. Christian Metz and Film Semiology Dynamics within and on the Edges of the ‘Model’: An Introduction Margrit Tröhler Tröhler, Margrit and Guido Kirsten (eds.), Christian Metz and the Codes of Cinema.
    [Show full text]
  • Film Studies (FILM) 1
    Film Studies (FILM) 1 FILM 252 - History of Documentary Film (4 Hours) FILM STUDIES (FILM) This course critically explores the major aesthetic and intellectual movements and filmmakers in the non-fiction, documentary tradition. FILM 210 - Introduction to Film (4 Hours) The non-fiction classification is indeed a wide one—encompassing An introduction to the study of film that teaches the critical tools educational, experimental formalist filmmaking and the rhetorical necessary for the analysis and interpretation of the medium. Students documentary—but also a rich and unique one, pre-dating the commercial will learn to analyze cinematography, mise-en-scene, editing, sound, and narrative cinema by nearly a decade. In 1894 the Lumiere brothers narration while being exposed to the various perspectives of film criticism in France empowered their camera with a mission to observe and and theory. Through frequent sequence analyses from sample films and record reality, further developed by Robert Flaherty in the US and Dziga the application of different critical approaches, students will learn to Vertov in the USSR in the 1920s. Grounded in a tradition of realism as approach the film medium as an art. opposed to fantasy, the documentary film is endowed with the ability to FILM 215 - Australian Film (4 Hours) challenge and illuminate social issues while capturing real people, places A close study of Australian “New Wave” Cinema, considering a wide range and events. Screenings, lectures, assigned readings; paper required. of post-1970 feature films as cultural artifacts. Among the directors Recommendations: FILM 210, FILM 243, or FILM 253. studied are Bruce Beresford, Peter Weir, Simon Wincer, Gillian Armstrong, FILM 253 - History of American Independent Film (4 Hours) and Jane Campion.
    [Show full text]
  • The Film Auteur: Vision and Style
    Module Title The Film Auteur: Vision and Style Programme(s)/Course BA Film Studies Level 4 Semester 1 Ref No: NEW Credit Value 20 CAT Points Student Study hours Contact hours: 48 Student managed learning hours: 152 Pre-requisite learning N/A Co-requisites N/A Excluded N/A combinations Module Coordinator TBC Parent Department Division of Film and Media, School of Arts and Creative Industries Parent Course BA Film Studies JACS Code W600 Description This module will examine the wide-ranging debates related to the film auteur through historical enquiry, theoretical investigation and comparative case studies. Students will explore the fraught relationship between film theory and the concept of the auteur, where the arguments against the film director-as-artist are set against the many instances of extraordinary ‘personal’ style and innovation in the cinematic medium. After exposure to the critical debates, students will analyse a series of case-studies to better understand the auteur in the context of the ‘classical’, the ‘postmodern’ and the ‘world cinema’ auteur. Finally, the module will also update the discussion by considering the impact of digital media on the idea of the film auteur. Aims The aims of this module are to To critically explore the concept of the auteur in terms of its historical origins and its contribution to film theory To relate authorship to the influence of the director working within diverse industrial, cultural and national contexts To apply different authorial approaches to the works of specific directors, such
    [Show full text]
  • Introduction in FOCUS: Cinephilia
    IN FOCUS: Cinephilia Introduction edited by MARK BETZ s was the case for authorship around 1990, in the last decade the tide has turned for cinephilia. Raised from the critical doldrums in which it had drifted since the 1970s, it has in the new mil- A lenium gathered momentum in the form of an outpouring of published essays, special journal issues, and book-length collections (as well as a singly authored monograph) devoted to its numerous mani- festations and implications. As some of the contributions in this dossier indicate, it was Susan Sontag’s 1996 New York Times Magazine lament for the bygone days of cinephilia, “The Decay of Cinema,” which sparked the powder keg—buried, not forgotten, unearthed anew—for critical work on what might be termed the new cinephilia. Much of this work proceeds from and along the faultlines that have divided aca- demic fi lm studies proper from the more broadly based fi lm culture which partly gave rise to the discipline in the fi rst place. And it is along precisely these faultlines that cinephilia’s future must be envisioned. I consider this in-between-ness to be a good thing: cinephilia may be understood as something of an irritant to certain entrenched con- ceptions about what academic study proper is, what it might concern itself with, how it should carry out its procedures—and this is very much the spirit of George Toles’s piece which concludes this dossier. It also fl ies in the face of the “death of cinema” doom-mongering that came into vogue around the time of Sontag’s article and that fi xated on how new digital media are effecting a fundamental break in the history of the medium.
    [Show full text]
  • Emotion and Film Theory
    1 2 3 4 5 EMOTION AND FILM THEORY 6 7 8 Norbert Wiley 9 10 11 ABSTRACT 12 13 This is a comparison of the emotions we have in watching a movie with 14 those we have in everyday life. Everyday emotion is loose in frame or con- 15 text but rather controlled and regulated in content. Movie emotion, in con- 16 trast, is tightly framed and boundaried but permissive and uncontrolled in 17 content. Movie emotion is therefore quite safe and inconsequential but can 18 still be unusually satisfying and pleasurable. I think of the movie emotions 19 as modeling clay that can symbolize all sorts of human troubles. A major 20 function of movies then is catharsis, a term I use more inclusively than 21 usual. 22 Throughout I use a pragmatist approach to film theory. This position 23 gives the optimal distance to the study of ordinary, middle-level emotion. 24 In contrast psychoanalysis is too close and cognitive theory too distant. 25 This middle position is similar to Arlie Hochschild’s symbolic interactionist 26 approach to the sociology of emotions, which also mediates between 27 psychoanalysis and cognitive theories. 28 29 EMOTION AND FILM THEORY 30 31 This will be an exploration of how emotion works in watching an ordinary Holly- 32 wood movie or others like it. I will be talking only about easy-to-follow movies, 33 not the more artistic or thoughtful kind. The working of emotion in these “easy 34 listening” movies is a controversial issue in film theory. But less so in sociology, 35 36 37 Studies in Symbolic Interaction 38 Studies in Symbolic Interaction,Volume 26,169–187 Copyright © 2003 by Elsevier Science Ltd.
    [Show full text]
  • An Outline, Indian Film Theory Auteur Theory: the Term 'Auteu
    Film Theory: key concepts- evolution, major features, theorists- an outline, Indian film theory Auteur Theory: politique des The term ‘auteur’ is the French term for author and became a part of the film studies auteurs Cahiers du cinema register in the 1950’s after the debate on the “polemic about authors” or the , when the French film critics associated with the film magazine adopted the term to recognize the director of the film as its author. It is he who is responsible for the aesthetic quality of the film. The critics came to be known as the Cahiers critics and included critics like François Truffaut and Jean-Luc Godard, who argued that since the director controlled all the aspects of film making and editing, it is only he who can employ them effectively to produce the desired aesthetic effect. The final artistic result is not the script writer’s but the director’s visualization has already been discussed in the section on film as art. This theory gave rise to the technique of recognition of peculiarities in the cinematographic techniques of a particular author, which eventually became his signature style- visible in his movies even if they differed in genre and themes. The concept of the auteur initially gave the critics the liberty to attribute the aesthetic quality of a film to the director, a proponent of this theory Andrew Harris went as far as to create a ranking system of the directors. However, the voices of dissent against this theory soon began in the 1960’s and 1970’s when the waves of structuralism, Marxism and psychoanalysis began influencing the film discourse.
    [Show full text]
  • CHRISTIAN METZ and the CODES of CINEMA Analysis and Later with Enunciation Theory
    EDITED BY MARGRIT TRÖHLER FILM THEORY FILM THEORY CHRISTIAN METZ IN MEDIA HISTORY IN MEDIA HISTORY AND GUIDO KIRSTEN AND THE CODES OF CINEMA FILM SEMIOLOGY AND BEYOND EDITED BY MARGRIT TRÖHLER AND GUIDO KIRSTEN A pioneering figure in film studies, Christian MARGRIT TRÖHLER is a professor in Metz proposed countless new concepts for the Department of Film Studies at the reflecting on cinema from the 1960s to the University of Zurich. 1980s. Rooted in a phenomenological struc­ GUIDO KIRSTEN is a postdoctoral re­ turalism, he worked out a film semiology searcher in the Department of Media which he then confronted with psycho­ Studies at Stockholm University. CINEMA OF CODES THE AND METZ CHRISTIAN analysis and later with enunciation theory. He also played a key role in establishing film studies as a scholarly discipline, making major contributions to its institutionaliza­ tion in universities worldwide. This book brings together a stellar roster of contribu­ tors to present a close analysis of Metz’s writings, their theoretical and epistemologi­ cal positions, and their ongoing influence today. ISBN 978-90-896-4892-1 AUP.nl 9 789089 648921 AUP_FtMh_KIRSTENe.a._(CMETZ)_rug28mm_v05.indd 1 18-01-18 12:16 Christian Metz and the Codes of Cinema Film Theory in Media History Film Theory in Media History explores the epistemological and theoretical foundations of the study of film through texts by classical authors as well as anthologies and monographs on key issues and developments in film theory. Adopting a historical perspective, but with a firm eye to the further development of the field, the series provides a platform for ground-breaking new research into film theory and media history and features high-profile editorial projects that offer resources for teaching and scholarship.
    [Show full text]
  • A Level Film Studies Candidate Style Answers
    Qualification Accredited A LEVEL Candidate Style Answers FILM STUDIES H410 For first teaching in 2017 H410/02 Critical approaches to film Version 1 www.ocr.org.uk/filmstudies A Level Film Studies Candidate Style Answers Contents Introduction 3 Section A Question 2: Level 5 answer 4 Commentary 6 Section A Question 2: Level 3 answer 7 Commentary 7 Section B Question 4: Level 5 answer 8 Commentary 10 Section B Question 4: Level 3 answer 11 Commentary 11 Section C Question 5: Level 5 answer 12 Commentary 14 Section C Question 5: Level 3 answer 15 Commentary 16 Section C Question 7: Level 5 answer 17 Commentary 19 Section C Question 7: Level 3 answer 20 Commentary 21 Section C Question 10: Level 5 answer 22 Commentary 24 Section C Question 10: Level 3 answer 25 Commentary 25 2 © OCR 2018 A Level Film Studies Candidate Style Answers Introduction Please note that this resource is provided for advice and guidance only and does not in any way constitute an indication of grade boundaries or endorsed answers. Whilst a senior examiner has provided a possible level for each Assessment Objective when marking these answers, in a live series the mark a response would get depends on the whole process of standardisation, which considers the big picture of the year’s scripts. Therefore the level awarded here should be considered to be only an estimation of what would be awarded. How levels and marks correspond to grade boundaries depends on the Awarding process that happens after all/most of the scripts are marked and depends on a number of factors, including candidate performance across the board.
    [Show full text]