Term explanation: Film semiotics
Term explanation: Film semiotics is a discipline that studies film as a special symbol system and ideographic phenomenon. With the rise of the French structuralist ideological movement, a new branch of semiotics was born in the mid-1960s that applied semiotic theory to study film art. It uses the research method of structural linguistics to analyze the structural form of film works, which is basically a methodology p. In 1964, French scholar Metz published "Film: Language System or Language", which marked the advent of structuralist semiotics. p Film semiotics is based on the theory of the Swiss structuralist linguist Saussure. Its representative theorists and theoretical works include "Film: Linguistic System or Language" by France Metz, and "The Analysis of Film Codes" by Italian Eco. Festival" and Italian Pasolini's "Poetic Cinema", etc. Film semiotics has had an important impact on Western film theory, bringing Western film theory into the modern film theory period. However, film semiotics has been subject to fierce criticisms such as "academic mysticism" since its birth, and the shortcomings of its static and closed structural analysis methods have become increasingly obvious. In the early 1970s, the research focus of film semiotics shifted from structure to structural process, from representation results to representation process, and from static systems to dynamic systems. Subsequently, ideological theory and psychoanalytic theory entered film semiotics, forming a second semiotics that studies film mechanisms based on psychological structural models. Its symbol was the publication of "Imaginary Signifiers" by Metz in 1977. p* noun explanation: The first semiotics of film Film semiotics is…. The first semiotics of film started with "Film: Language System or Language" published by Metz in 1964. It took structure-focused linguistics as its model and had a strong scientific tendency, but it underestimated the complexity of using semiotics to study films. . Moreover, the shortcomings of its static and closed structural analysis methods are becoming increasingly obvious. In the 1970s, as ideological theory and psychoanalytic theory entered film semiotics, a second semiotics was formed that studied film mechanisms based on psychological structural models. The first stage of film semiotics based on linguistics has three major research categories: ①. Determining the nature of film semiotics; ②. Classifying the categories of film codes; ③. Analyzing the narrative structure of film works (film texts), that is A systematic study of film language. Its basic film concept is: film is a conventional symbol system, and its creation has a socially recognized formula to follow; and although film language is not the same as natural language, film symbol systems are essentially similar to language symbol systems; The scientific tool for studying movies is linguistics, and the focus of its research should be denotation and narrative. In terms of methodology, different film semioticians have established different analysis systems, such as Metz's eight combined segments, Eco's three-layer image segmentation theory, etc. *Explanation of terms: The second semiotics of film is a film theory that combines film semiotics with psychoanalysis. In 1977, the French film theorist Metz published the book "Imaginary Signifiers", which marked the birth of the second film semiotics. The second semiotics of film uses psychoanalysis as a model to comprehensively explain the psychology of the subject's viewing process and the subject's creation process of the film mechanism. The first film semiotics focuses on the "statement result" of the film and studies the symbols and symbol systems within the work, while the second film semiotics strives to break through the above limitations and uses psychoanalysis to study the statement process of film works and the production and perception process of symbols. . The former is modeled on linguistic concepts, the latter on psychoanalytic concepts. The latter transitions from the narrow symbolic analysis of the former to "symbolic-psychological analysis" and shifts from static extensional examination to dynamic connotation examination. In the second film semiotics, the function of the film text is no longer limited to a fixed and complex symbolic structure, but a variable concept. The second film semiotics focuses more on the study of the general mechanism of film. *Explanation of terms: imaginary signifier. Metz calls movies the illusion of a semi-dream state, the state of imagination, and the signifier of imagination. The signifier itself is imaginary, otherwise it would not be a signifier. For the cinematic signifier, not only is the encoding imagined, but so is the decoding. Moreover, the basic constitutive principle of imagination is the principle that metaphor and metonymy work simultaneously. *Term explanation: Psychoanalytic film theory is a modern Western film theory that uses psychoanalytic principles to explain film phenomena. Before the 1970s, psychoanalysis did not form a complete system in the field of film research. It was only rarely mentioned in the French avant-garde films of the mid-1920s, such as the films of Dulac and Bu?uel. In 1977, the French film theorist Metz published the book "Imaginary Signifiers", which was based on the psychoanalytic principles and models of Freud and Lacan and combined with film semiotics to comprehensively explain the subjective viewing process of the film mechanism. and the psychology of the creative process of the subject, which is the symbol of the birth of the second semiotics and is also a representative work of psychoanalytic film theory. The core of psychoanalytic film theory is the study of the role of the unconscious in the process of film creation and appreciation, including important concepts such as "self-identity" and "narcissistic complex".
Since the 1970s, ideological film theory, which combines ideological theory with psychoanalysis, and feminist film theory, which combines feminism, semiotics and psychoanalysis, are all new forms of psychoanalytic film theory
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