The Cognitive Semiotics of Film Warren Buckland Books
Download As PDF : The Cognitive Semiotics of Film Warren Buckland Books
In The Cognitive Semiotics of Film, Warren Buckland argues that the conflict between cognitive film theory and contemporary film theory is unproductive. He examines and develops 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. 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.
The Cognitive Semiotics of Film Warren Buckland Books
Unlike authors such as David Bordwell and Noël Carroll, who reject the importance of semiotics in filmic theories, Buckland creates a bridge between the tradition of European semiotics and the issues raised by cognitive film theory. As a result, Buckland's work allows us to approach the problems posed by the two traditions, as well as the theoretical tools that allows us to face those problems.The book also serves as an excellent introduction to authors of French tradition such as Roger Odin, Christian Metz and Dominique Chateau, as well as cross-cutting themes of film semiotics: enunciation, film generative grammar, pragmatics, etc.. I particularly recommend chapter 2, where the author makes an excellent application of cognitive semantics to filmic perception, from an embodied perspective.
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Tags : Amazon.com: The Cognitive Semiotics of Film (9780511613142): Warren Buckland: Books,Warren Buckland,The Cognitive Semiotics of Film,Cambridge University Press,0511613148,Films, cinema,PERFORMING ARTS Film General
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The Cognitive Semiotics of Film Warren Buckland Books Reviews
Unlike authors such as David Bordwell and Noël Carroll, who reject the importance of semiotics in filmic theories, Buckland creates a bridge between the tradition of European semiotics and the issues raised by cognitive film theory. As a result, Buckland's work allows us to approach the problems posed by the two traditions, as well as the theoretical tools that allows us to face those problems.
The book also serves as an excellent introduction to authors of French tradition such as Roger Odin, Christian Metz and Dominique Chateau, as well as cross-cutting themes of film semiotics enunciation, film generative grammar, pragmatics, etc.. I particularly recommend chapter 2, where the author makes an excellent application of cognitive semantics to filmic perception, from an embodied perspective.
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