附註:Includes bibliographical references (pages 163-169) and index.
Cover; Title; Copyright; Dedication; CHAPTER ONE The Cognitive Turn in Film Theory; CHAPTER TWO The Body on Screen and in Frame; CHAPTER THREE Not What Is Seen through the Window but the Window Itself; CHAPTER FOUR The Institutional Context; CHAPTER FIVE All in the Mind?; Conclusion; Notes; Bibliography of Works Cited; Index.
摘要:In The Cognitive Semiotics of Film, Warren Buckland argues that the conflict between cognitive film theory and contemporary film theory is unproductive. Examining and developing the work of 'cognitive film semiotics', a neglected branch of film theory that combines the insights of cognitive science with those of linguistics and semiotics, he investigates Michel Colin's cognitive semantic theory of film; Francesco Casetti and Christian Metz's theories of film enunciation; Roger Odin's cognitive-pragmatic film theory; and Michel Colin and Dominique Chateau's cognitive studies of film syntax, which are viewed within the framework of Noam Chomsky's transformational generative grammar. Presenting a survey of cognitive film semiotics, this study also reevaluates the film semiotics of the 1960s, highlights the weaknesses of American cognitive film theory, and challenges the move toward 'post-theory' in film studies.
