Language and Cinema
eBook - PDF

Language and Cinema

  1. 303 pages
  2. English
  3. PDF
  4. Available on iOS & Android
eBook - PDF

Language and Cinema

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Yes, you can access Language and Cinema by Christian Metz, Donna Jean Umiker-Sebeok in PDF and/or ePUB format, as well as other popular books in Languages & Linguistics & Linguistics. We have over one million books available in our catalogue for you to explore.

Table of contents

  1. 1. Within the Cinema : The Filmic Fact
  2. 2. Within the Filmic Fact: The Cinema
  3. 2.1. ‘Cinema’ in another sense
  4. 2.2. From material to codical homogeneity: a premature conclusion
  5. 2.3. The same code in several ‘language systems’; several codes in the same ‘language system’
  6. 2.4. Cinematic specificity, cinematic language system (I)
  7. 2.5. Cinematic-filmic, cinematic-non-filmic, filmic-non-cinematic
  8. 3. Film in an Absolute Sense
  9. 3.1. ‘The Film’/‘The Cinema’
  10. 3.2. The zone common to the film and cinema. Its limits
  11. 4. Plurality of Cinematic Codes
  12. 4.1. General and particular codes
  13. 4.2. Plurality along two axes
  14. 4.3. ‘Cinematic language system’ (II)
  15. 5. From Code to System; Message to Text
  16. 5.1. ‘The study of films’: two different approaches
  17. 5.2. Code/singular system
  18. 5.3. General and particular codes (II)
  19. 5.4. Terminological points
  20. 5.5. ‘Structure of the message’ or structure of the text?
  21. 6. Textual Systems
  22. 6.1. The film as a unique totality
  23. 6.2. The system of the film as displacement
  24. 6.3. Cinematic and extra-cinematic: from duality to mixture
  25. 6.4. Readings: several textual systems for a single text
  26. 7. Textuality and ‘Singularity’
  27. 7.1. Filmic texts smaller or larger than a film
  28. 7.2. Group of films and class of films
  29. 7.3. From ‘particular code’ to sub-code (III)
  30. 7.4. The pansemic tendency of certain figures
  31. 7.5. Code/sub-code (IV)
  32. 7.6. The systemic and the textual
  33. 7.7. Textuality and generality
  34. 7.8. ‘Film’ in the absolute sense (II)
  35. 8. Paradigmatic and Syntagmatic
  36. 8.1. The syntagmatic and the textual
  37. 8.2. The syntagmatic and the paradigmatic; syntagmatics and paradigmatics
  38. 8.3. Degrees of preexistence of the ‘object studied’
  39. 8.4. Circularity of paradigmatics and syntagmatics
  40. 8.5. Syntagmatic and consecutive
  41. 8.6. Paradigmatic and syntagmatic in textual systems
  42. 9. The Problem of Distinctive Units
  43. 9.1. Several types of minimal units in the same text
  44. 9.2. Several types of cinematic units in the film
  45. 9.3. The determination of minimal units and the overall study of grammar
  46. 9.4. Several types of extra-cinematic units in the film
  47. 9.5. Distinctive units: diversity of size
  48. 9.6. Distinctive units: diversity of form
  49. 9.7. Critique of the notion ‘cinematic sign’
  50. 10. ‘Specific/Non-Specific’: Relativity of the Classification Used
  51. 10.1. ‘Form/material/substance’ according to Hjelmslev
  52. 10.2. Semiotic interference between language systems
  53. 10.3. Distinctive features of the material of the signifier
  54. 10.4. The intermixing of specificities: Multiple specificity, degrees of specificity, modes of specificity
  55. 10.5 Cinema and television
  56. 10.6. Language system as a combination of codes
  57. 10.7. Non-specific codes. Codes of content and codes of expression
  58. 10.8. Hjelmslev reconsidered: ‘substance’
  59. 11. Cinema and writing
  60. 11.1. Cinema and writing as recordings
  61. 11.2. Cinema and writing as transmissions
  62. 11.3. Cinema and writing as ‘printings’
  63. 11.4. Cinema and writing as ‘compositions’
  64. 11.5. The cinema in relation to the ‘writings’ of Writing Degree Zero
  65. 11.6. Cinema and ideography
  66. Conclusion: Cinematic Language System and Filmic Writing
  67. References
  68. Subject index
  69. Index of Names
  70. Index of Films