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Multimodal film analysis : how films mean / / John A. Bateman and Karl-Heinrich Schmidt
| Multimodal film analysis : how films mean / / John A. Bateman and Karl-Heinrich Schmidt |
| Autore | Bateman John A. |
| Pubbl/distr/stampa | New York : , : Routledge, , 2012 |
| Descrizione fisica | 1 online resource (339 p.) |
| Disciplina | 791.4301 |
| Altri autori (Persone) | SchmidtKarl-Heinrich |
| Collana | Routledge studies in multimodality |
| Soggetto topico |
Motion pictures - Philosophy
Motion pictures - Semiotics |
| Soggetto genere / forma | Electronic books. |
| ISBN |
1-136-46755-6
0-203-12822-2 |
| Formato | Materiale a stampa  |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Multimodal 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
3.3 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 5.5 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 7.5 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 Subject and Name Index |
| Record Nr. | UNINA-9910452209503321 |
Bateman John A.
|
||
| New York : , : Routledge, , 2012 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Multimodal film analysis : how films mean / / John A. Bateman and Karl-Heinrich Schmidt
| Multimodal film analysis : how films mean / / John A. Bateman and Karl-Heinrich Schmidt |
| Autore | Bateman John A. |
| Pubbl/distr/stampa | New York : , : Routledge, , 2012 |
| Descrizione fisica | 1 online resource (339 p.) |
| Disciplina | 791.4301 |
| Altri autori (Persone) | SchmidtKarl-Heinrich |
| Collana | Routledge studies in multimodality |
| Soggetto topico |
Motion pictures - Philosophy
Motion pictures - Semiotics |
| ISBN |
1-136-46754-8
1-136-46755-6 0-203-12822-2 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Multimodal 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
3.3 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 5.5 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 7.5 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 Subject and Name Index |
| Record Nr. | UNINA-9910779030803321 |
|
Bateman John A.
|
||
| New York : , : Routledge, , 2012 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||
Multimodal film analysis : how films mean / / John A. Bateman and Karl-Heinrich Schmidt
| Multimodal film analysis : how films mean / / John A. Bateman and Karl-Heinrich Schmidt |
| Autore | Bateman John A |
| Edizione | [1st ed.] |
| Pubbl/distr/stampa | New York, : Routledge, 2012 |
| Descrizione fisica | 1 online resource (339 p.) |
| Disciplina | 791.4301 |
| Altri autori (Persone) | SchmidtKarl-Heinrich |
| Collana | Routledge studies in multimodality |
| Soggetto topico |
Motion pictures - Philosophy
Motion pictures - Semiotics |
| ISBN |
1-136-46754-8
1-136-46755-6 0-203-12822-2 |
| Formato | Materiale a stampa |
| Livello bibliografico | Monografia |
| Lingua di pubblicazione | eng |
| Nota di contenuto |
Multimodal 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
3.3 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 5.5 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 7.5 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 Subject and Name Index |
| Record Nr. | UNINA-9910823656503321 |
|
Bateman John A
|
||
| New York, : Routledge, 2012 | ||
| Materiale a stampa | ||
| Lo trovi qui: Univ. Federico II | ||
| ||