03861nam 2200721 450 991045582750332120200520144314.01-282-02907-X97866120290731-4426-7295-110.3138/9781442672956(CKB)2420000000003935(EBL)4671345(SSID)ssj0000291602(PQKBManifestationID)12049382(PQKBTitleCode)TC0000291602(PQKBWorkID)10255612(PQKB)10944295(CaBNvSL)thg00600443 (MiAaPQ)EBC3255069(MiAaPQ)EBC4671345(DE-B1597)464321(OCoLC)944178324(OCoLC)999361848(DE-B1597)9781442672956(Au-PeEL)EBL4671345(CaPaEBR)ebr11257061(CaONFJC)MIL202907(OCoLC)958571454(EXLCZ)99242000000000393520160926h20052005 uy 0engur|n|---|||||txtccrCinema and semiotic Peirce and film aesthetics, narration, and representation /Johannes Ehrat2nd ed.Toronto, [Ontario] ;Buffalo, [New York] ;London, [England] :University of Toronto Press,2005.©20051 online resource (693 p.)Toronto Studies in Semiotics and CommunicationDescription based upon print version of record.0-8020-3909-X 0-8020-3912-X Includes bibliographical references, filmography and index.Frontmatter -- Contents -- Acknowledgments -- Introduction -- 1 On Signs, Categories, and Reality and How They Relate to Cinema -- 2 Semiotic and Its Practical Use for Cinema -- 3 What 'Is' Cinema? -- 4 Narration in Film and Film Theory -- 5 Narration, Time, and Narratologies -- 6 Enunciation in Cinema -- Conclusion -- Notes -- Bibliography -- Filmography, by Director -- Index'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 meaning. In Cinema and Semiotic, he attempts to resurrect meaning by employing Charles S. Peirce's theories on semiotics to debate the major contemporary film theories that have diluted it.Based 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. Attempting a comprehensive theory of cinema ? instead of the regional 'middle-ground' theories that function only on certain 'common-sense' assumptions that borrow uncritically from psychophysiology ? Ehrat further demonstrates how a semiotic approach grasps the nature of time, not in a psychological manner, but rather cognitively, and provides a new understanding of the particular filmic sign process that relates a sign to the existence or non-existence of objects. Never before has Peirce been so fruitfully employed for the comprehension of meaning in cinema.Toronto studies in semiotics and communicationMotion picturesSemioticsMotion picturesAestheticsElectronic books.Motion picturesSemiotics.Motion picturesAesthetics.791.43014Ehrat Johannes1952-778090MiAaPQMiAaPQMiAaPQBOOK9910455827503321Cinema and Semiotic1686884UNINA