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

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'Meaning' in cinema is very complex, and the flood of theories that define it have, in certain ways, left cinematic meaning meaningless. Johannes Ehrat's analysis of meaning in cinema has convinced him that what is needed is greater philosophical reflection on the construction of mean...

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Detalles Bibliográficos
Autor principal: Ehrat, Johannes, 1952-
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Toronto, Ont. : University of Toronto Press, 2005.
Colección:Book collections on Project MUSE.
Temas:
Peirce, Charles S. > (Charles Sanders), > 1839-1914.
Motion pictures > Semiotics.
Motion pictures > Aesthetics.
Semiotics and motion pictures.
PERFORMING ARTS > Reference.
PERFORMING ARTS > Film & Video > History & Criticism.
Cinema > Esthetique.
Semiotique et cinema.
Electronic books.
Acceso en línea:Texto completo
Tabla de Contenidos:
  • ""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 â€?Isâ€? 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 â€?Isâ€? Cinema?""""3.1 Cinema â€?Isâ€? Syntagma""; ""3.2 Cinema â€?Isâ€? Sign Function""; ""3.3 Cinema â€?Isâ€? Percept""; ""3.4 Cinema â€?Isâ€? Moving Matter or Time""; ""3.5 What Cinema Becomes: Theory Objects Compared, Reconciled, Rejected""; ""Intermezzo: Cinematic Imagination of Godardâ€?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 Dreyerâ€?s Ordet""; ""5 Narration, Time, and Narratologies""
  • ""5.1 Ricoeurâ€?s Mimesis""""5.2 Heideggerâ€?s Ekstasis""; ""5.3 Aristotleâ€?s Poesis""; ""5.4 Greimasâ€?s Semiosis""; ""5.5 Bordwellâ€?s Formalism""; ""5.6 Olmiâ€?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""

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