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Structuralist Film Theory
Structuralist film theory is a branch of film theory that is rooted in structuralism, itself based on structural linguistics. Overview Structuralist film theory emphasizes how films convey meaning through the use of codes and conventions not dissimilar to the way languages are used to construct meaning in communication. However, structuralist film theory differs from linguistic theory in that its codifications include a more apparent temporal aspect. In other words, the site of the study (the film) is moving in time and must be analyzed in a framework which can consider its temporality. To that end, structuralist film theory is dependent on a new kind of sign, first proposed by the Prague linguistic circle, dubbed the ostensive sign.Sternagel, Jörg, Deborah Levitt, Dieter Mersch, and Lesley Stern. ''Acting and Performance in Moving Image Culture: Bodies, Screens, Renderings'', 2012. p. 307. An example of this is understanding how the simple combination of shots can create an add ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Film Theory
Film theory is a set of scholarly approaches within the academic discipline of film or cinema studies that began in the 1920s by questioning the formal essential attributes of motion pictures; and that now provides conceptual frameworks for understanding film's relationship to reality, the other arts, individual viewers, and society at large. Film theory is not to be confused with general film criticism, or film history, though these three disciplines interrelate. Although some branches of film theory are derived from linguistics and literary theory, it also originated and overlaps with the philosophy of film. History Early theory, before 1945 French philosopher Henri Bergson's ''Matter and Memory'' (1896) anticipated the development of film theory during the birth of cinema in the early twentieth century. Bergson commented on the need for new ways of thinking about movement, and coined the terms "the movement-image" and "the time-image". However, in his 1906 essay ''L ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Structuralism
In sociology, anthropology, archaeology, history, philosophy, and linguistics, structuralism is a general theory of culture and methodology that implies that elements of human culture must be understood by way of their relationship to a broader system. It works to uncover the structures that underlie all the things that humans do, think, perceive, and feel. Alternatively, as summarized by philosopher Simon Blackburn, structuralism is: Blackburn, Simon, ed. 2008. "Structuralism." In '' Oxford Dictionary of Philosophy'' (2nd rev. ed.). Oxford: Oxford University Press. . p. 353. e belief that phenomena of human life are not intelligible except through their interrelations. These relations constitute a structure, and behind local variations in the surface phenomena there are constant laws of abstract structure.Structuralism in Europe developed in the early 20th century, mainly in France and the Russian Empire, in the structural linguistics of Ferdinand de Saussure and the subseque ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Structural Linguistics
Structural linguistics, or structuralism, in linguistics, denotes schools or theories in which language is conceived as a self-contained, self-regulating semiotic system whose elements are defined by their relationship to other elements within the system. It is derived from the work of Swiss linguist Ferdinand de Saussure and is part of the overall approach of structuralism. Saussure's '' Course in General Linguistics'', published posthumously in 1916, stressed examining language as a dynamic system of interconnected units. Saussure is also known for introducing several basic dimensions of semiotic analysis that are still important today. Two of these are his key methods of syntagmatic and paradigmatic analysis, which define units syntactically and lexically, respectively, according to their contrast with the other units in the system. ''Structuralism'' as a term, however, was not used by Saussure, who called the approach ''semiology''. The term ''structuralism'' is derived ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Film
A film also called a movie, motion picture, moving picture, picture, photoplay or (slang) flick is a work of visual art that simulates experiences and otherwise communicates ideas, stories, perceptions, feelings, beauty, or atmosphere through the use of moving images. These images are generally accompanied by sound and, more rarely, other sensory stimulations. The word "cinema", short for cinematography, is often used to refer to filmmaking and the film industry, and to the art form that is the result of it. Recording and transmission of film The moving images of a film are created by photography, photographing actual scenes with a movie camera, motion-picture camera, by photographing drawings or miniature models using traditional animation techniques, by means of computer-generated imagery, CGI and computer animation, or by a combination of some or all of these techniques, and other visual effects. Before the introduction of digital production, series of still imag ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Meaning (semiotics)
In semiotics, the study of sign processes ( semiosis), the meaning of a sign is its place in a sign relation, in other words, the set of roles that the sign occupies within a given sign relation. This statement holds whether ''sign'' is taken to mean a ''sign type'' or a ''sign token''. Defined in these global terms, the meaning of a sign is not in general analyzable with full exactness into completely localized terms, but aspects of its meaning can be given approximate analyses, and special cases of sign relations frequently admit of more local analyses. Two aspects of meaning that may be given approximate analyses are the ''connotative relation'' and the ''denotative relation''. The connotative relation is the relation between signs and their interpretant signs. The denotative relation is the relation between signs and objects. An arbitrary association exists between the ''signified'' and the ''signifier.'' For example, a US salesperson doing business in Japan might interpre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sign (semiotics)
In semiotics, a sign is anything that communicates a meaning that is not the sign itself to the interpreter of the sign. The meaning can be intentional, as when a word is uttered with a specific meaning, or unintentional, as when a symptom is taken as a sign of a particular medical condition. Signs can communicate through any of the senses, visual, auditory, tactile, olfactory, or taste. Two major theories describe the way signs acquire the ability to transfer information. Both theories understand the defining property of the sign as a relation between a number of elements. In the tradition of semiotics developed by Ferdinand de Saussure (referred to as semiology) the sign relation is dyadic, consisting only of a form of the sign (the signifier) and its meaning (the signified). Saussure saw this relation as being essentially arbitrary (the principle of semiotic arbitrariness), motivated only by social convention. Saussure's theory has been particularly influential in the study o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Prague School
The Prague school or Prague linguistic circle is a language and literature society. It started in 1926 as a group of linguists, philologists and literary critics in Prague. Its proponents developed methods of structuralist literary analysis and a theory of the standard language and of language cultivation from 1928 to 1939. The linguistic circle was founded in the Café Derby in Prague, which is also where meetings took place during its first years. The Prague School has had a significant continuing influence on linguistics and semiotics. After the Czechoslovak coup d'état of 1948, the circle was disbanded in 1952, but the Prague School continued as a major force in linguistic functionalism (distinct from the Copenhagen school or English Firthian – later Hallidean – linguistics). The American scholar Dell Hymes cites his 1962 paper, "The Ethnography of Speaking," as the formal introduction of Prague functionalism to American linguistic anthropology. The Prague ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ostensive Definition
An ostensive definition conveys the meaning of a term by pointing out examples. This type of definition is often used where the term is difficult to define verbally, either because the words will not be understood (as with children and new speakers of a language) or because of the nature of the term (such as colors or sensations). It is usually accompanied with a gesture pointing to the object serving as an example, and for this reason is also often referred to as " definition by pointing". Overview An ostensive definition assumes the questioner has sufficient understanding to recognize the type of information being given. Ludwig Wittgenstein writes: So one might say: the ostensive definition explains the use—the meaning—of the word when the overall role of the word in language is clear. Thus if I know that someone means to explain a colour-word to me the ostensive definition "That is called 'sepia' " will help me to understand the word.... One has already to know (or be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Kuleshov Effect
The Kuleshov effect is a film editing (montage) effect demonstrated by Russian film-maker Lev Kuleshov in the 1910s and 1920s. It is a mental phenomenon by which viewers derive more meaning from the interaction of two sequential shots than from a single shot in isolation. Specifics Kuleshov edited a short film in which a shot of the expressionless face of Tsarist matinee idol Ivan Mosjoukine was alternated with various other shots (a bowl of soup, a girl in a coffin, a woman on a divan). The film was shown to an audience who believed that the expression on Mosjoukine's face was different each time he appeared, depending on whether he was "looking at" the bowl of soup, the girl in the coffin, or the woman on the divan, showing an expression of hunger, grief, or desire, respectively. The footage of Mosjoukine was actually the same shot each time. Vsevolod Pudovkin (who later claimed to have been the co-creator of the experiment) described in 1929 how the audience "raved about the ac ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Semiotic Literary Criticism
Semiotic literary criticism, also called literary semiotics, is the approach to literary criticism informed by the theory of signs or semiotics. Semiotics, tied closely to the structuralism pioneered by Ferdinand de Saussure, was extremely influential in the development of literary theory out of the formalist approaches of the early twentieth century. History The early forms of literary semiotics grew out of formalist approaches to literature, especially Russian formalism, and structuralist linguistics, especially the Prague school. Notable early semiotic authors included Vladimir Propp, Algirdas Julius Greimas, and Viktor Shklovsky. These critics were concerned with a formal analysis of narrative forms which would resemble a literary mathematics, or at least a literary syntax, as far as possible. They proposed various formal notations for narrative components and transformations and attempted a descriptive taxonomy of existing stories along these lines. Propp's ''Morphology o ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Structural Film
Structural film was an avant-garde experimental film movement prominent in the United States in the 1960s and which developed into the Structural/materialist films in the United Kingdom in the 1970s. Overview The term was coined by P. Adams Sitney who noted that film artists had moved away from the complex and condensed forms of cinema practiced by such artists as Sidney Peterson and Stan Brakhage. "Structural film" artists pursued instead a more simplified, sometimes even predetermined art. The shape of the film was crucial, the content peripheral. This term should not be confused with the literary and philosophical term ''structuralism''. Characteristics Sitney identified four formal characteristics common in Structural films, but all four characteristics are not usually present in any single film: :* fixed camera position (an apparently fixed framing) :* flicker effect (strobing due to the intermittent nature of film) :* loop printing :* rephotography (off the screen) It h ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
