LEADER 04972nam 2200721Ia 450 001 9910823656503321 005 20200520144314.0 010 $a1-136-46754-8 010 $a1-136-46755-6 010 $a0-203-12822-2 024 7 $a10.4324/9780203128220 035 $a(CKB)2550000000098437 035 $a(EBL)957662 035 $a(OCoLC)798533364 035 $a(SSID)ssj0000678432 035 $a(PQKBManifestationID)11482557 035 $a(PQKBTitleCode)TC0000678432 035 $a(PQKBWorkID)10699624 035 $a(PQKB)11448489 035 $a(MiAaPQ)EBC957662 035 $a(Au-PeEL)EBL957662 035 $a(CaPaEBR)ebr10545678 035 $a(CaONFJC)MIL500518 035 $a(OCoLC)787851380 035 $a(FINmELB)ELB137433 035 $a(EXLCZ)992550000000098437 100 $a20110815d2012 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aMultimodal film analysis $ehow films mean /$fJohn A. Bateman and Karl-Heinrich Schmidt 205 $a1st ed. 210 $aNew York $cRoutledge$d2012 210 1$aNew York :$cRoutledge,$d2012. 215 $a1 online resource (339 p.) 225 1 $aRoutledge studies in multimodality ;$v5 300 $aDescription based upon print version of record. 311 $a0-415-75443-7 311 $a0-415-88351-2 320 $aIncludes bibliographical references and index. 327 $aMultimodal Film Analysis: How Films Mean; Copyright; Contents; 1 Analysing film; 1.1 Distinguishing the filmic contribution to meaning; 1.2 Examples of filmic 'textual organisation'; 1.3 Redrawing boundaries; 1.4 Organisation of the book; 2 Semiotics and documents; 2.1 Semiotics and its relations to film; 2.2 The nature of discourse semantics; 2.3 The film as cinematographic document; 2.4 A combined view: filmic documents for filmic discourse; 2.5 Summary and Conclusions; 3 Constructing the semiotic mode of film; 3.1 Semiotic multimodality; 3.2 The internal organisation of semiotic strata 327 $a3.3 Composing and combining semiotic modes3.4 Materiality and 'epistemological commitment'; 3.5 Summary and Conclusions; 4 Christian Metz and the grande syntagmatique of the image track; 4.1 The original model; 4.2 Two examples of analysis with the grande syntagmatique; 4.3 Revisions and rebuttals; 4.4 Summary and Conclusions; 5 Foundations for analysis: filmic units; 5.1 The basic units of film: preliminaries; 5.2 Audiovisual iconic representations; 5.3 Perception, perceptual realism and reliable measurement; 5.4 Multiplicity: from perception to discourse 327 $a5.5 Filmic units revisited: discourse-motivated definitions5.6 Summary and Conclusions; 6 The paradigmatic organisation of film; 6.1 Beyond Metz: towards a grande paradigmatique; 6.2 Capturing discourse dependency structures in film; 6.3 The paradigmatic dimensions of PROJECTION, TAXIS and PLANE; 6.4 Two examples of paradigmatic analysis; 6.5 Summary and Conclusions; 7 The syntagmatic organisation of film; 7.1 Basic properties of the cinematographic document; 7.2 Monochronicity; 7.3 Monospatial monochronicity; 7.4 Narrative hierarchalisation 327 $a7.5 Alternating dramaturgy and the alternating syntagma7.6 Beyond narration; 7.7 Summary and Conclusions; 8 Combining syntagmatic and paradigmatic analysis: a detailed example; 8.1 Setting up the story; 8.2 The message; 8.3 Catching sight of the money; 8.4 Casing the joint; 8.5 Grace alone; 8.6 Spying on Grace; 8.7 Grace calls for help; 8.8 Summary and Conclusions; 9 Conclusions and outlook; 9.1 Towards empirical investigations of theories of film; 9.2 Textual logic for multimodal documents; Appendix A: Formal definitions used in the book; Filmography; Bibliography; Index of Works Cited 327 $aSubject and Name Index 330 $aThis book presents a new basis for the empirical analysis of film. Starting from an established body of work in film theory, the authors show how a close incorporation of the current state of the art in multimodal theory-including accounts of the syntagmatic and paradigmatic axes of organisation, discourse semantics and advanced 'layout structure'-builds a methodology by which concrete details of film sequences drive mechanisms for constructing filmic discourse structures. The book introduces the necessary background, the open questions raised, and the method by which analysis can proceed s 410 0$aRoutledge studies in multimodality ;$v5. 606 $aMotion pictures$xPhilosophy 606 $aMotion pictures$xSemiotics 615 0$aMotion pictures$xPhilosophy. 615 0$aMotion pictures$xSemiotics. 676 $a791.4301 700 $aBateman$b John A$00 701 $aSchmidt$b Karl-Heinrich$01690953 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910823656503321 996 $aMultimodal film analysis$94066999 997 $aUNINA