New Vocabularies in Film Semiotics

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Christian Metz, David Nelson, R. Barton Palmer, Tova Shaban and Ella Shohat. We would like to express special appreciation to Bertrand Augst. We would like to thank the editors of this series, Ed Buscombe and Phil Rosen. We could not have asked for more sympathetic, alert and discriminating readers. Finally, due to his undeniable importance to the field, and due to his peerless personal generosity, we have dedicated this book to Christian Metz. xv
I THE ORIGINS OF SEMIOTICS The emergence of SEMIOTICS* as the study of signs, signification and signifying systems, must be seen within the broader context of the language-haunted nature of contemporary thought. Although language has been an object of philosophical reflexion for millennia, it is only recently that it has come to constitute a fundamental paradigm, a virtual “key” to the mind, to artistic and social praxis, and indeed to human existence generally. Central to the project of a wide spectrum of twentieth-century thinkers—Wittgenstein, Cassirer, Heidegger, Lévi-Strauss, Merleau-Ponty and Derrida—is a concern with the crucial shaping importance of language in human life and thought. The overarching meta-discipline of semiotics, in this sense, can be seen as a local manifestation of a more widespread “linguistic turn,” an attempt to reconceptualize the world “through” linguistics. SEMIOTICS AND THE PHILOSOPHY OF LANGUAGE Human beings have never ceased reflecting on their own language. The Hebrew Bible suggests a linguistic theory by claiming that God brought the beasts of the field and the fowl of the air to Adam “to see what he would call them: and whatsoever Adam called every living creature, that was the name thereof” (Genesis II, 19–20). Here name-giving is seen as the spontaneous exercise of a natural faculty, but we are never told the precise principles which ordered Adam’s activity. The Babel story, mean-while, points to the problem of language difference, the origins of the diversity of human languages and their mutual incomprehensibility. At Babel, God deliberately confused the correlations between name and thing which had obtained when all the world was “of one speech.” Linguistic speculations also dot the classical texts of Greek, Indian and Chinese culture, and arguably form part of all cultures, including oral cultures. Semiotics proper, however, traces its origins back to the western philosophi cal tradition of speculation concerning language and the relation between words and things. The Greek pre-Socratic philosophers explored the issue of the MOTIVATION of signs, i.e. the question of whether a direct
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Page 6 and 7: To Christian Metz
Page 8 and 9: Beyond Saussure 67 Part III Film-na
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Page 44 and 45: 28 THE ORIGINS OF SEMIOTICS NOTES 1
Page 46 and 47: 30 CINE-SEMIOLOGY Spottiswoode’s
Page 48 and 49: 32 CINE-SEMIOLOGY the psychology of
Page 50 and 51: 34 CINE-SEMIOLOGY semiology corresp
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Page 54 and 55: 38 CINE-SEMIOLOGY is less open to i
Page 56 and 57: 40 CINE-SEMIOLOGY the diegetic in h
Page 58 and 59: 42 CINE-SEMIOLOGY (3) the BRACKET S
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Page 62 and 63: 46 CINE-SEMIOLOGY The ALTERNATING S
Page 64 and 65: 48 CINE-SEMIOLOGY procedures. Apart
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50 CINE-SEMIOLOGY CODES AND SUBCODE
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52 CINE-SEMIOLOGY TEXTUAL SYSTEM It
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54 CINE-SEMIOLOGY that work from a
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56 CINE-SEMIOLOGY Kuntzel focussed
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58 CINE-SEMIOLOGY progressive and c
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60 CINE-SEMIOLOGY it functions as a
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62 CINE-SEMIOLOGY order; the voice,
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64 CINE-SEMIOLOGY illustrates its c
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66 CINE-SEMIOLOGY sequence of Stran
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68 CINE-SEMIOLOGY There have also b
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III FILM-NARRATOLOGY THE SEMIOTICS
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72 FILM-NARRATOLOGY FILM AS A NARRA
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74 FILM-NARRATOLOGY one another—t
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76 FILM-NARRATOLOGY film to verse
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78 FILM-NARRATOLOGY deep meaning wa
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80 FILM-NARRATOLOGY distant); and c
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82 FILM-NARRATOLOGY is the notion o
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84 FILM-NARRATOLOGY process is foun
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86 FILM-NARRATOLOGY One of the firs
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88 FILM-NARRATOLOGY Another influen
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90 FILM-NARRATOLOGY in the Lake, wh
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92 FILM-NARRATOLOGY rather than a s
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94 FILM-NARRATOLOGY or to the conte
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96 FILM-NARRATOLOGY and ideological
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98 FILM-NARRATOLOGY récit, or narr
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100 FILM-NARRATOLOGY IMAGE-MAKER; B
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102 FILM-NARRATOLOGY although some
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104 FILM-NARRATOLOGY narrator’s k
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106 FILM-NARRATOLOGY be understood
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108 FILM-NARRATOLOGY descriptive sh
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110 FILM-NARRATOLOGY systematic res
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112 FILM-NARRATOLOGY Other literary
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114 FILM-NARRATOLOGY is through a s
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116 FILM-NARRATOLOGY text: “films
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118 FILM-NARRATOLOGY The “unipunc
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120 FILM-NARRATOLOGY the impersonal
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122 FILM-NARRATOLOGY The opposite r
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124 FILM-NARRATOLOGY appear that th
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126 PSYCHOANALYSIS notion of self a
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128 PSYCHOANALYSIS The unconscious,
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130 PSYCHOANALYSIS in the simplest
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132 PSYCHOANALYSIS child is divided
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134 PSYCHOANALYSIS culture’s rule
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136 PSYCHOANALYSIS Second, as the o
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138 PSYCHOANALYSIS by impulses whic
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140 PSYCHOANALYSIS (Rose 1986:72) H
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142 PSYCHOANALYSIS primary text of
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144 PSYCHOANALYSIS and which may be
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146 PSYCHOANALYSIS libidinal/ eroti
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148 PSYCHOANALYSIS and positing the
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150 PSYCHOANALYSIS achieve this amb
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152 PSYCHOANALYSIS its totality (as
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154 PSYCHOANALYSIS This type of ide
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156 PSYCHOANALYSIS A film image (so
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158 PSYCHOANALYSIS incorporating a
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160 PSYCHOANALYSIS double movement:
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162 PSYCHOANALYSIS seems to be narr
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164 PSYCHOANALYSIS indicating that
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166 PSYCHOANALYSIS the individual;
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168 PSYCHOANALYSIS better than the
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170 PSYCHOANALYSIS of glances: (1)
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172 PSYCHOANALYSIS concept meant to
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174 PSYCHOANALYSIS cinematic scopic
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176 PSYCHOANALYSIS subject: ‘what
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178 PSYCHOANALYSIS of a passive (fe
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180 PSYCHOANALYSIS when one explore
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182 PSYCHOANALYSIS resurfaces here)
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184 PSYCHOANALYSIS effort to define
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186 PSYCHOANALYSIS analysis, the ci
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V FROM REALISM TO INTERTEXTUALITY A
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190 CINEMATIC REALISM photographic
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192 CINEMATIC REALISM the concept o
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194 CINEMATIC REALISM CINEMATIC ECR
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196 CINEMATIC REALISM the corollary
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198 CINEMATIC REALISM meaning, maki
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200 CINEMATIC REALISM (courtesy, fr
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202 CINEMATIC REALISM 1981:292). Th
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204 CINEMATIC REALISM (Although Bre
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206 CINEMATIC REALISM everyday live
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208 CINEMATIC REALISM both producer
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210 CINEMATIC REALISM sociologistic
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212 CINEMATIC REALISM accessory mes
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214 CINEMATIC REALISM Dublin. Both
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216 CINEMATIC REALISM analyzing the
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218 CINEMATIC REALISM school, the m
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220 CINEMATIC REALISM spectator, wh
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222 CINEMATIC REALISM and the “wo
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224 CINEMATIC REALISM which lies on
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BIBLIOGRAPHY Adams, Parveen (1978)
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228 BIBLIOGRAPHY Black, David Alan
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230 BIBLIOGRAPHY —(1989) Cinema 2
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232 BIBLIOGRAPHY Greimas, Algirdas
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234 BIBLIOGRAPHY Lentricchia, Frank
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236 BIBLIOGRAPHY Plato (1963) The R
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238 BIBLIOGRAPHY Xavier, Ismail (19
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240 INDEX classic realist text 192
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242 INDEX history/discourse (story)
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244 INDEX pluricodic medium (Metz)
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246 INDEX vococentrism (Chion) 62 v
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