LEADER 03861nam 2200721 450 001 9910455827503321 005 20200520144314.0 010 $a1-282-02907-X 010 $a9786612029073 010 $a1-4426-7295-1 024 7 $a10.3138/9781442672956 035 $a(CKB)2420000000003935 035 $a(EBL)4671345 035 $a(SSID)ssj0000291602 035 $a(PQKBManifestationID)12049382 035 $a(PQKBTitleCode)TC0000291602 035 $a(PQKBWorkID)10255612 035 $a(PQKB)10944295 035 $a(CaBNvSL)thg00600443 035 $a(MiAaPQ)EBC3255069 035 $a(MiAaPQ)EBC4671345 035 $a(DE-B1597)464321 035 $a(OCoLC)944178324 035 $a(OCoLC)999361848 035 $a(DE-B1597)9781442672956 035 $a(Au-PeEL)EBL4671345 035 $a(CaPaEBR)ebr11257061 035 $a(CaONFJC)MIL202907 035 $a(OCoLC)958571454 035 $a(EXLCZ)992420000000003935 100 $a20160926h20052005 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aCinema and semiotic $ePeirce and film aesthetics, narration, and representation /$fJohannes Ehrat 205 $a2nd ed. 210 1$aToronto, [Ontario] ;$aBuffalo, [New York] ;$aLondon, [England] :$cUniversity of Toronto Press,$d2005. 210 4$dİ2005 215 $a1 online resource (693 p.) 225 0 $aToronto Studies in Semiotics and Communication 300 $aDescription based upon print version of record. 311 $a0-8020-3909-X 311 $a0-8020-3912-X 320 $aIncludes bibliographical references, filmography and index. 327 $tFrontmatter -- $tContents -- $tAcknowledgments -- $tIntroduction -- $t1 On Signs, Categories, and Reality and How They Relate to Cinema -- $t2 Semiotic and Its Practical Use for Cinema -- $t3 What 'Is' Cinema? -- $t4 Narration in Film and Film Theory -- $t5 Narration, Time, and Narratologies -- $t6 Enunciation in Cinema -- $tConclusion -- $tNotes -- $tBibliography -- $tFilmography, by Director -- $tIndex 330 $a'Meaning' in cinema is very complex, and the flood of theories that define it have, in certain ways, left cinematic meaning meaningless. Johannes Ehrat's analysis of meaning in cinema has convinced him that what is needed is greater philosophical reflection on the construction of meaning. In Cinema and Semiotic, he attempts to resurrect meaning by employing Charles S. Peirce's theories on semiotics to debate the major contemporary film theories that have diluted it.Based on Peirce's Semiotic and Pragmatism, Ehrat offers a novel approach to cinematic meaning in three central areas: narrative enunciation, cinematic world appropriation, and cinematic perception. Attempting a comprehensive theory of cinema ? instead of the regional 'middle-ground' theories that function only on certain 'common-sense' assumptions that borrow uncritically from psychophysiology ? Ehrat further demonstrates how a semiotic approach grasps the nature of time, not in a psychological manner, but rather cognitively, and provides a new understanding of the particular filmic sign process that relates a sign to the existence or non-existence of objects. Never before has Peirce been so fruitfully employed for the comprehension of meaning in cinema. 410 0$aToronto studies in semiotics and communication 606 $aMotion pictures$xSemiotics 606 $aMotion pictures$xAesthetics 608 $aElectronic books. 615 0$aMotion pictures$xSemiotics. 615 0$aMotion pictures$xAesthetics. 676 $a791.43014 700 $aEhrat$b Johannes$f1952-$0778090 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910455827503321 996 $aCinema and Semiotic$91686884 997 $aUNINA