David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
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Cambridge University Press (1990)
In Metaphor and Film, Trevor Whittock demonstrates that feature films are permeated by metaphors that were consciously introduced by directors. An examination of cinematic metaphor forces us to reconsider the nature of metaphor itself, and the ways by which such visual imagery can be recognised and understood, as well as interpreted. Metaphor and Film identifies the principal forms of cinematic metaphor, and also provides an analysis of the mental operations that one must bring to it. Recent developments in cognitive psychology, especially those relating to the nature and formation of categories, are called upon to explain these processes. Metaphor and Film ranges widely over film theory as it does over philosophical, literary, linguistic, and psychological accounts of metaphor. Particularly useful to those studying film, literature, and aesthetics, this study is also a provocative contribution to an important debate in which film theorists and philosophers are currently engaged.
|Keywords||Motion pictures Semiotics Motion pictures Philosophy Metaphor|
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|Call number||PN1995.W45 1990|
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Citations of this work BETA
Jo Ann Oravec (1995). The Camera Never Lies: Social Construction of Self and Group in Video, Film, and Photography. [REVIEW] Journal of Value Inquiry 29 (4):431-446.
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