|
|
|
|
|
|
|
|
1. |
Record Nr. |
UNINA9910455328303321 |
|
|
Autore |
Buckland Warren |
|
|
Titolo |
The cognitive semiotics of film / / Warren Buckland [[electronic resource]] |
|
|
|
|
|
|
|
Pubbl/distr/stampa |
|
|
Cambridge : , : Cambridge University Press, , 2000 |
|
|
|
|
|
|
|
ISBN |
|
1-107-11992-8 |
0-521-03715-8 |
0-511-30249-5 |
0-511-61314-8 |
0-511-15540-9 |
0-511-04997-8 |
1-280-42959-3 |
0-511-17521-3 |
|
|
|
|
|
|
|
|
Descrizione fisica |
|
1 online resource (xi, 174 pages) : digital, PDF file(s) |
|
|
|
|
|
|
Disciplina |
|
|
|
|
|
|
Soggetti |
|
Motion pictures - Semiotics |
|
|
|
|
|
|
Lingua di pubblicazione |
|
|
|
|
|
|
Formato |
Materiale a stampa |
|
|
|
|
|
Livello bibliografico |
Monografia |
|
|
|
|
|
Note generali |
|
Title from publisher's bibliographic system (viewed on 05 Oct 2015). |
|
|
|
|
|
|
Nota di bibliografia |
|
Includes bibliographical references (p. 163-169) and index. |
|
|
|
|
|
|
Nota di contenuto |
|
Cover; Title; Copyright; Dedication; CHAPTER ONE The Cognitive Turn in Film Theory; CHAPTER TWO The Body on Screen and in Frame; CHAPTER THREE Not What Is Seen through the Window but the Window Itself; CHAPTER FOUR The Institutional Context; CHAPTER FIVE All in the Mind?; Conclusion; Notes; Bibliography of Works Cited; Index |
|
|
|
|
|
|
|
|
Sommario/riassunto |
|
In The Cognitive Semiotics of Film, Warren Buckland argues that the conflict between cognitive film theory and contemporary film theory is unproductive. Examining and developing the work of 'cognitive film semiotics', a neglected branch of film theory that combines the insights of cognitive science with those of linguistics and semiotics, he investigates Michel Colin's cognitive semantic theory of film; Francesco Casetti and Christian Metz's theories of film enunciation; Roger Odin's cognitive-pragmatic film theory; and Michel Colin and Dominique Chateau's cognitive studies of film syntax, which are viewed within the framework of Noam Chomsky's transformational generative grammar. Presenting a survey of cognitive film semiotics, this study also re- |
|
|
|
|