지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
This study aims to show the various domains of semiotic studies and the aspect of their interactions. We adopted the case of film semiotics for an example. We also want to examine that the Film Semiotics that C. Metz founded has not adequately adapt the results of semiotic studies.
Among many semiotic studies of film, the semiotic theories are not fully understood and applied, or sometimes the semiotics was identified with the early structural linguistics. C. Metz and his disciples who have recently constructed 'the Cognitive Semiotics of Film' adhere to some early linguistic terms, and confine their discipline to a linguistic model that is not relevant to images. Instead, we found that]. Mitry offered one of the epistemological grounds to the Film Semiotics. His phenomenalistic approach to film issues like montage, film image, frame consists a dialectic between the two parties of traditional film theory: realism and formalism. He also argued that it is our body who perceives and complete meanings in the film art.
The Paris Semiotic School has recently experienced the epistemological turning points and developed the Semiotics of Passions, where they discovered that the body is the channel where the world is perceived and interpreted. J. Fontanille, the present leader of the school, analysed, along with some other texts, 〈The Passion〉 of J. L. Godard, and proved their revised model that includes thymic dimension is relevant to analyze the film.
Among many semiotic studies of film, the semiotic theories are not fully understood and applied, or sometimes the semiotics was identified with the early structural linguistics. C. Metz and his disciples who have recently constructed 'the Cognitive Semiotics of Film' adhere to some early linguistic terms, and confine their discipline to a linguistic model that is not relevant to images. Instead, we found that]. Mitry offered one of the epistemological grounds to the Film Semiotics. His phenomenalistic approach to film issues like montage, film image, frame consists a dialectic between the two parties of traditional film theory: realism and formalism. He also argued that it is our body who perceives and complete meanings in the film art.
The Paris Semiotic School has recently experienced the epistemological turning points and developed the Semiotics of Passions, where they discovered that the body is the channel where the world is perceived and interpreted. J. Fontanille, the present leader of the school, analysed, along with some other texts, 〈The Passion〉 of J. L. Godard, and proved their revised model that includes thymic dimension is relevant to analyze the film.
목차
Ⅰ. 들어가는 말
Ⅱ. 선구적 사례
Ⅲ. 메츠 영화기호학의 오류
Ⅳ. 다시 기호학의 전통으로
Ⅴ. 맺는 말
참고문헌
〈Abstract〉
참고문헌 (21)
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UCI(KEPA) : I410-ECN-0101-2010-051-003195764