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Multimodal Film Analysis : How Films Mean.
This book presents a new basis for the empirical analysis of film. Starting from an established body of work in film theory, the authors show how a close incorporation of the current state of the art in multimodal theory--including accounts of the syntagmatic and paradigmatic axes of organisation, d...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Otros Autores: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Hoboken :
Taylor & Francis,
2011.
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| Colección: | Routledge studies in multimodality.
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| Temas: | |
| Acceso en línea: | Texto completo |
Tabla de Contenidos:
- Multimodal Film Analysis: How Films Mean; Copyright; Contents; 1 Analysing film; 1.1 Distinguishing the filmic contribution to meaning; 1.2 Examples of filmic 'textual organisation'; 1.3 Redrawing boundaries; 1.4 Organisation of the book; 2 Semiotics and documents; 2.1 Semiotics and its relations to film; 2.2 The nature of discourse semantics; 2.3 The film as cinematographic document; 2.4 A combined view: filmic documents for filmic discourse; 2.5 Summary and Conclusions; 3 Constructing the semiotic mode of film; 3.1 Semiotic multimodality; 3.2 The internal organisation of semiotic strata.
- 3.3 Composing and combining semiotic modes3.4 Materiality and 'epistemological commitment'; 3.5 Summary and Conclusions; 4 Christian Metz and the grande syntagmatique of the image track; 4.1 The original model; 4.2 Two examples of analysis with the grande syntagmatique; 4.3 Revisions and rebuttals; 4.4 Summary and Conclusions; 5 Foundations for analysis: filmic units; 5.1 The basic units of film: preliminaries; 5.2 Audiovisual iconic representations; 5.3 Perception, perceptual realism and reliable measurement; 5.4 Multiplicity: from perception to discourse.
- 5.5 Filmic units revisited: discourse-motivated definitions5.6 Summary and Conclusions; 6 The paradigmatic organisation of film; 6.1 Beyond Metz: towards a grande paradigmatique; 6.2 Capturing discourse dependency structures in film; 6.3 The paradigmatic dimensions of PROJECTION, TAXIS and PLANE; 6.4 Two examples of paradigmatic analysis; 6.5 Summary and Conclusions; 7 The syntagmatic organisation of film; 7.1 Basic properties of the cinematographic document; 7.2 Monochronicity; 7.3 Monospatial monochronicity; 7.4 Narrative hierarchalisation.
- 7.5 Alternating dramaturgy and the alternating syntagma7.6 Beyond narration; 7.7 Summary and Conclusions; 8 Combining syntagmatic and paradigmatic analysis: a detailed example; 8.1 Setting up the story; 8.2 The message; 8.3 Catching sight of the money; 8.4 Casing the joint; 8.5 Grace alone; 8.6 Spying on Grace; 8.7 Grace calls for help; 8.8 Summary and Conclusions; 9 Conclusions and outlook; 9.1 Towards empirical investigations of theories of film; 9.2 Textual logic for multimodal documents; Appendix A: Formal definitions used in the book; Filmography; Bibliography; Index of Works Cited.