Cinema and Semiotic : Peirce and Film Aesthetics, Narration, and Representation.

По: Ehrat, P. JohannesТип материала: ТекстТекстЯзык: English (английский язык)Серия: Toronto Studies in Semiotics and Communication SeriesИздатель: Toronto : University of Toronto Press, 2005Дата авторского права: ©2004Издание: 1st edОписание: 1 online resource (693 pages)Вид содержания: Text Средство доступа: Computermedien Тип носителя: Online ResourceISBN: 9781442672956Тематика(и): Peirce, Charles S. 1839-1914 | Filmästhetik | Filmsemiotik | Motion pictures-Aesthetics | Motion pictures-Semiotics | Peirce, Charles S.-(Charles Sanders),-1839-1914Жанр/форма: Fernzugriff | Дополнительные физические форматы: Print version:: Cinema and SemioticЭлектронное местонахождение и доступ: Volltext
Содержание:
Intro -- Contents -- Acknowledgments -- Introduction -- 1 On Signs, Categories, and Reality and How They Relate to Cinema -- 1.1 The Use of Signs -- 1.2 The Construction of Meaning -- 1.3 Investigating Conduct as a Form -- 1.4 The Categories of Behaviour -- 1.5 The Categorial Form of Behaviour -- 1.6 Logic of Relations -- 1.7 The Metaphysics of Pragmaticistic Semiotic -- 2 Semiotic and Its Practical Use for Cinema -- 2.1 Cinema 'Is' a Class of Sign -- 2.2 The Iconism of Cinema: A first Semiotic Approach -- 2.3 (From Film Pragmatics to) The Pragmaticism of Cinema -- 3 What 'Is' Cinema? -- 3.1 Cinema 'Is' Syntagma -- 3.2 Cinema 'Is' Sign Function -- 3.3 Cinema 'Is' Percept -- 3.4 Cinema 'Is' Moving Matter or Time -- 3.5 What Cinema Becomes: Theory Objects Compared, Reconciled, Rejected -- Intermezzo: Cinematic Imagination of Godard's Je vous salue, Marie -- 4 Narration in Film and Film Theory -- 4.1 The Narratological Question, Peirce, and Cinema -- 4.2 The Semiotic of Narrative Time -- 4.3 Cinematic Time -- Intermezzo: Two Kinds of Narrative Time in Dreyer's Ordet -- 5 Narration, Time, and Narratologies -- 5.1 Ricoeur's Mimesis -- 5.2 Heidegger's Ekstasis -- 5.3 Aristotle's Poesis -- 5.4 Greimas's Semiosis -- 5.5 Bordwell's Formalism -- 5.6 Olmi's Genesi -- 6 Enunciation in Cinema -- 6.1 Enunciation: From Vagueness to Generality -- 6.2 Narrative Enunciation -- 6.3 Rhetorical Enunciation in Cinema: Meaning in Figures -- 6.4 Aesthetic Enunciation in Film -- Epilogue: Two Aesthetic Processes in Cinema -- Conclusion -- Notes -- Bibliography -- Filmography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Z.
Сводка: Based on Peirce's Semiotic and Pragmatism, Ehrat offers a novel approach to cinematic meaning in three central areas: narrative enunciation, cinematic world appropriation, and cinematic perception.

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Intro -- Contents -- Acknowledgments -- Introduction -- 1 On Signs, Categories, and Reality and How They Relate to Cinema -- 1.1 The Use of Signs -- 1.2 The Construction of Meaning -- 1.3 Investigating Conduct as a Form -- 1.4 The Categories of Behaviour -- 1.5 The Categorial Form of Behaviour -- 1.6 Logic of Relations -- 1.7 The Metaphysics of Pragmaticistic Semiotic -- 2 Semiotic and Its Practical Use for Cinema -- 2.1 Cinema 'Is' a Class of Sign -- 2.2 The Iconism of Cinema: A first Semiotic Approach -- 2.3 (From Film Pragmatics to) The Pragmaticism of Cinema -- 3 What 'Is' Cinema? -- 3.1 Cinema 'Is' Syntagma -- 3.2 Cinema 'Is' Sign Function -- 3.3 Cinema 'Is' Percept -- 3.4 Cinema 'Is' Moving Matter or Time -- 3.5 What Cinema Becomes: Theory Objects Compared, Reconciled, Rejected -- Intermezzo: Cinematic Imagination of Godard's Je vous salue, Marie -- 4 Narration in Film and Film Theory -- 4.1 The Narratological Question, Peirce, and Cinema -- 4.2 The Semiotic of Narrative Time -- 4.3 Cinematic Time -- Intermezzo: Two Kinds of Narrative Time in Dreyer's Ordet -- 5 Narration, Time, and Narratologies -- 5.1 Ricoeur's Mimesis -- 5.2 Heidegger's Ekstasis -- 5.3 Aristotle's Poesis -- 5.4 Greimas's Semiosis -- 5.5 Bordwell's Formalism -- 5.6 Olmi's Genesi -- 6 Enunciation in Cinema -- 6.1 Enunciation: From Vagueness to Generality -- 6.2 Narrative Enunciation -- 6.3 Rhetorical Enunciation in Cinema: Meaning in Figures -- 6.4 Aesthetic Enunciation in Film -- Epilogue: Two Aesthetic Processes in Cinema -- Conclusion -- Notes -- Bibliography -- Filmography -- Index -- A -- B -- C -- D -- E -- F -- G -- H -- I -- J -- K -- L -- M -- N -- O -- P -- Q -- R -- S -- T -- U -- V -- W -- Z.

Based on Peirce's Semiotic and Pragmatism, Ehrat offers a novel approach to cinematic meaning in three central areas: narrative enunciation, cinematic world appropriation, and cinematic perception.

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