2008 film600 -- ?
... filmplus.org/kino [ru] cine anthropology : new russian cinema
"Cultural wars" semiotics & "political signs"
Web semio -- web.vtheatre.net [ new page? ]
wiki/Schizoanalysis & postmodernism [ pomo pages ]
Kristeva argues that anthropology and psychology, or the connection between the social and the subject, do not represent each other, but rather follow the same logic: the survival of the group and the subject.
New Visual Universe
'Semiotics can best be defined as a science dedicated to the study of the production of meaning in society' (Elam:1984:1).
Film600: Wrong Subjects + Bad Theories
... Semiotics (study of signs) is only one of several methods we use in film classes. In Film & Drama the METHODOLOGY is introduced. The intensive use is required in Visions of the Northern Mind.
Most useful is structuralism, closely related to semiosis. Segmentation is a part of the process "taking cinema texts apart" -- next the analysis of the parts. Structural element are usually stripped of the social and cultural connotations. See it as a "data" -- a primitive example: count the number of closeups of protagonist and antagonist, count the zooms andwhere are they used, count of jumpcuts, cuts from CU to LS... Now the what numbers tell you.
Next -- look at the combinations of shots, or measure the duration. Without much thinking you could see that each film and filmmaker has its own preferences, which we usually describe as "style." You can examine the color, the repetitions and so on. Check when the cutaway shots are used -- and you are close to the question -- why?
Another popular method is psycho-analysis; most of you are familiar with the basic Freudian terminology. Useful for genre of drama. Widly used for Fellini's 8 1/2.
Woman as mother, sister, daughter, whore, madonna and all possible combinations. One-sex-world: Guido and women. Men are flat and functional, non-dramatic. He doesn't have relations with father, doesn't know him, can't selecvt the actor to play his father -- could be any old man.
Next -- ego, superego, libido. Relations with oneself. Auto-erotics. How does the flesh presented? Images, symbols, numerous bath scenes (inlcuding naked archibishop).
Dreams and supression. Death and death-wish.
I do use Bakhtin's Dialogism, it proved to be very productive in frilm analysis.
Linked to the polyphonic principle: multi-vocal is easy translated into many themes (do you see th bar "topics"? the pages are not developed yet).
Dialogue within the text, between texts, with the reader/viewer and so on.
The power of this method is its implies Dialectics (and differs), therefore the Marxist Aesthetics could be introduced as well. Thesis, Antithesis, Synthesis. Spiral development (Eisenstein and montage).
If you do have time -- Foucault and Disciplines.
Cultural Studies ask for more detailed analysis than traditional "historical" or "social" approaches. According to Foucault, the apparatus of control is a build-in mechanism in the state of "democracy" -- the power structure doesn't disappear, on the contrary, it's getting stronger.
How does it work inside? Film is the X-rays of filmmakers -- do you see the message? That is what we struggle the most in our film classes -- the ideas, the meaning. That's we strudy the "form"!
I do ask for indentification of the method you use and following the rules of it. If you want "A" -- do the basic research on terminology.
My rational is simple -- they will ask you do it in any decent graduate school, get ready. Second, it will help you to clear up your thought process. I believe in limitations...
Film Theory class (link)
Film Theory LinksWide Angle: A Film Quarterly of Theory, Criticism, and Practice from USC.
Transparency: Mass Media, Visul Culture and Ideology.
LisztSelect: Film Theory Lists: Groups, Discussions.
Auther Theory: selling select books.
Cine-Tracks: Canadian Film Theory Journal.
Dramatica Theory of Story: for writers.
Open Directory Project:Movies: Theory & Criticism (needs an editor).
Film-Theory contact Page: subscribe!
Iconology & Movies: from Yale Press.
SOFIA links: from UK.
CinemaSpace: from Berkeley.
Voice of the Shuttle: Theory: including literature, the best!
English Server: one the best sources on the Internet, if not the best!
F-Theory: good personal page on movies and film.
100 Best in film history of the century * new'07 semio pages :
... [ menu ] and NOTES!
SummaryLinks from Semio Online ****
* 2005 updates => Film & Movies Class. Part III. Theory *
Questia: The Cognitive Semiotics of Film
The Subject of Semiotics Book by Kaja Silverman; Oxford University Press, 1984
** film.vtheatre.net/semio + film.vtheatre.net/doc/semio.ru
... the rest of semio-files will be @ filmplus.org/600, working on "bad theories and wrong subjects"...
... extention of my nonfiction projects POV and Theology of Technology
Bakhtin never wrote anything on film. NTL, many of his ideas are applicable to film theory. "Poetics of Dostoevsky" reads as if returns to literature after studying film -- dialogic and poliphonic princples, used by cinima as its mehtod and nature. Well, I have the same thoughts thinking about Bakhtin's philosophy and theatre...Part I. Intro to Basics (go there and come back)Theory? It all depends what you mean by that! Most of my interests are in postmodern (New French) theories. But the birth of this personal interest to EVERYTHING theoretical began in school (my first degree in physics). Later it were Russian formalists and constructivists, and Lotman. Or it Bakhtin first? And so on... [ it will be in this new directory Film600: Bad Theories + Wrong Subjects = see this new flash banner! ]что жизнь == синоним
небытия и нарушенья правил.
Brodsky ("Строфы", XVI, )
Lotman : film.vtheatre.net/doc/semio.ru (ru)(there is more on pomo theories and terminology in script.vtheatre.net -- click the banner! )
Intertextuality[ must read Bakhtin ]The semiotic notion of intertextuality is associated primarily with poststructuralist theorists. Each media text exists in relation to others. In fact, texts owe more to other texts than to their own makers. Texts are framed by others in many ways. Most obvious are formal frames: a television programme, for instance, may be part of a series and part of a genre (soap or sitcom). Our understanding of any individual text relates to such framings.
Genre theory: Within semiotics genres can be seen as sign systems or codes - conventionalized but dynamic structures. Each example of a genre utilises conventions which link it to other members of that genre.
Links also cross the boundaries of formal frames, for instance, in sharing topics with treatments within other genres (the theme of war is found in a range of genres such action-adventure film, documentary, news, current affairs). Some genres are shared by several media: the genres of soap, game show and phone-in are found on both television and radio; the genre of the news report is found on TV, radio and in newspapers; the advertisement appears in all mass media forms. Texts sometimes allude directly to each other as in 'remakes' of films, and in many amusing contemporary TV ads. Texts in the genre of the trailer are directly tied to specific texts within or outside the same medium. The genre of the programme listing exists within the medium of print (listings magazines, newspapers) to support the media of TV, radio and film. TV soaps generate substantial coverage in popular newspapers, magazines and books; the 'magazine' format was adopted by TV, radio and now by Web.
Each text exists within a vast "society of texts" in various genres and media: no text is an island entire of itself. A useful semiotic technique is comparison and contrast between differing treatments of similar themes (or similar treatments of different themes), within or between different genres or media....
We need genre study for the First Part. The Movies: what constitutes "action" movies, what is "drama" (call Aristotle for help: Structure Principles -- Plot, Character, Idea). Utopia and Distopia for Sci-Fi (traditions). FairyTales, mythology, types and architypes. Image, symbol and metaphore. Plot v. Story; where the genre comes into play? The dialects of relations between Plot + Character + Message. See script.vtheatre.net pages for the basics of the dramatic language. How does dramatic language express itself within filmic language? Color symbolism. (Select your favorite movie for analysis in class. Coloristic treatment in "God-Father" and "Terminator II" -- what's the difference? Yes, yes, this is semiotic too! Do the same with sound, rhythm and so on). The Main Genres, according to Aristotle (tragedy and comedy); can we follow the evolution and the birth of other genres?
[ Folks, I better use the Film600 and film.vtheatre.net pages in order not to overload this introductory page! ]
Questions for You and MeJust a few...
IntertextualityDoes it allude to other genres? Does it allude to or compare with other texts within the genre? How does it compare with treatments of similar themes within other genres?
Very good book on genres by Michail Bakhtin, although he is not pure simiotician (see Bakhtin Page).
Foucault and Deleuze developed further this Bakhtin's thought that "meaning" is born only as intercourse between text and you, my dear reader. In film this is more true than ever, because spectator is the meaning machine, where the cinematic sentences are put together (montage and Kuleshov Effect). Also, should read on Dialogism (The Dialogic Imagination, U. of Texas ISBN 029271534X).
The problem. In order for us to cross the border into postmodern thinking we have to rethink our traditional understanding time and space. Bakhtin introduced the idea of Chronotope, where time can't be separated from space (Einstein 1905); even more -- space should be percieved within time nature (Deleuze, Cinema I & II). Why is this conceptual transition is important for understand film medium? Well, film doesn't really exists in space. (We have already a new more extereme phenomena -- "cyberspace"!) Space is refencial, camera and I share the same frame of references (experience of space, memories of spape -- and mortal life).
Anatoly, what are you talking about? The signs, aren't they in space?
Let me continue my drive-through-theory classes. Driving from Denver to Fort Collins (Xmas 2002); the intertextuality. Does the sign "exit -- Harmony Road" really exists? Not according to our dog in the back seat. Not, if you can't read English. In film I can understand only things I can put together (very much like in every other linguistic forms). That's why you textbook (Monaco) has a title "How to READ a Film"! "Harmony Road"? Oh, we still need words! We are not ready yet for angelic visions. We must watch more movies!
The point is that meaning can't exist without context, without interactions of many texts.
I hope that you understand now that Anatoly and the dog are two different texts.
...Unfortunatelly, I have no time to write about dog's film theory and his analysis on the way from Denver to Fort Collins.
Princeton has made an interesting and very worthwhile decision to reprint Siegfried Kracauer's impressive work on film aesthetics (the term magnum opus would not be inappropriate). (Theory of Film was originally published in 1960, this new paperback edition is the only one currently in print in English.) At a time when film so readily employs digital means to create images, Kracauer's emphasis on film's connection to photography as a representation of reality might seem out-of-date. However, As Miriam Bratu Hansen points out in her excellent introduction, suggestions that Kracauer's theories of film belong to the "beautiful ruins in the philosophical landscape" certainly miss out on what is certainly very relevant and consistently challenging in Theory of Film. Written during his exile in France during World War II (Theory of Film differs in many ways from his Weimar writings, the specter of the Holocaust and Nazism, shaped Kracauer's views on film) Kracauer views film as both the perfect medium for the representation of the crisis of modernity and the modern subject as well as holding out the possibility to suggest and encourage new perspectives and constructs in which to change its condition. Now that Theory of Film is once again available to English-speaking readers it will undoubtedly take its place among the works of Bazin and Arnheim, as well as Kracauer's own From Caligari to Hitler as a classic work of film theory.[ how to use "semio pages" for THR334 Film & Movies class: read the last part in chapter 5. Film Theory -- Film Speaks and Acts: Metz and Contemporary Theory. Read Metz book! And another one on theatre performance as well. ]
Theatre Links and Film links directories! Get more from other (not mine) sites! Unfortunatelly, not much on Theatre Semiotics, but I do introduce it in directing classes and somewhat in Aesthetics: Arts Through Film (core intro class).
Well, there is a lot of "theories" in my nonfiction, philosophy and metaphysics! For example, Theology of Technology (Tech).
Also, check the SpectatorShip Theory directory and the Virtual Theatre directories and pages.
And, some theory on Web pages: Web on Web, about the meaning of our new technology.
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@1999-2003 film-north *
[ Back to Theory: Semio I ]
[ it would be nice if you can learn about semiotics in some English classes ]
* Is there a theory directory? Theatre and Film600
NB. The paradox. "TV for Movie Generation"... more we watch, less we understaqnd the language of film. We do not notice it, like we do not remember how we learned to walk. I told you, you should consider watch movies as the same experience as food or sex. I told you that we crossed the line of the "human history as we know it" -- was I driving too fast? Sorry, go back and read my pages on dromology (science of speed) in POV (better read Paul Virilio's books). We are constucting our new (brave) world according to those cinematic principles we study ("What Is to be Done?" pp. 558-561). We are not supposed to notice or understand movies. The prehistorical (or post-historical) "logic of practice" do not ask for reflections! Our means of knowledge are diffirent now! The dog is not stupid, it's just a dog! We are not idiots only because we do not want to read books. We can't eat books, but we can do it to pizza and movies!
2005-2006 Theatre UAF Season: Four Farces + One Funeral & Godot'06
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