'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
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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 ****
goto : tarkovsky.wetpaint.com wiki
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* 2005 updates => Film & Movies Class. Part III. Theory *
Questia: The Cognitive Semiotics of Film
WARREN BUCKLAND Liverpool John Moores University * Cambridge University Press, 2000
The Subject of Semiotics
Book by Kaja Silverman; Oxford University Press, 1984
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blog: anatoly-film
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