000			03615nam a22004573i 4500
001			EBC4671345
003			MiAaPQ
005			20240208175729.0
007			cr cnu||||||||
008			240208s2005 xx o ||||0 eng d
020			_a9781442672956 _q(electronic bk.)
020			_z9780802039125
040			_aMiAaPQ _beng _cMiAaPQ
100	1		_aEhrat, P. Johannes. _960910
245	1	0	_aCinema and Semiotic : _bPeirce and Film Aesthetics, Narration, and Representation.
250			_a1st ed.
264		1	_aToronto : _bUniversity of Toronto Press, _c2005.
264		4	_c©2004.
300			_a1 online resource (693 pages)
336			_aText _btxt _2rdacontent
337			_aComputermedien _bc _2rdamedia
338			_aOnline Resource _bcr _2rdacarrier
490	1		_aToronto Studies in Semiotics and Communication Series
500			_aE-Book-ProQuest / Fernzugriff nach Registrierung möglich
505	0		_aIntro -- 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.
520			_aBased 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.
600	1		_2gnd _aPeirce, Charles S. _d1839-1914 _960960
650		7	_2gnd _aFilmästhetik _960962
650		7	_2gnd _aFilmsemiotik _960963
653			_aMotion pictures-Aesthetics.
653			_aMotion pictures-Semiotics.
653			_aPeirce, Charles S.-(Charles Sanders),-1839-1914.
655			_aFernzugriff _9230
655		4	_aElectronic books.
776	0	8	_iPrint version: _aEhrat, P. Johannes _tCinema and Semiotic _dToronto : University of Toronto Press,c2005 _z9780802039125
830		0	_aToronto Studies in Semiotics and Communication Series _960911
856	4	0	_uhttps://ebookcentral.proquest.com/lib/maxweberstiftung-ebooks/detail.action?docID=4671345 _zVolltext
942			_cEB _2z
999			_c70330 _d70330