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  1. Film Language: A Semiotics of the Cinema.Christian Metz - 1974 - University of Chicago Press.
    A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. "The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinema: langue ou langage?'"--Geoffrey Nowell-Smith, Times Literary Supplement "Modern film theory begins with Metz."--Constance Penley, coeditor of Camera Obscura "Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably through a reference to (...)
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  2.  27
    The Imaginary Signifier: Psychoanalysis and the Cinema.Philip Rosen, Christian Metz, Celia Britton, Annwyl Williams, Ben Brewster & Alfred Guzzetti - 1983 - Substance 11 (4):234.
  3. Conversations with Christian Metz: selected interviews on film theory (1970-1991).Christian Metz - 2017 - Amsterdam: Amsterdam University Press.
    From 1968 to 1991 the acclaimed film theorist Christian Metz wrote several remarkable books on film theory. These books set the agenda of academic film studies during its formative period. Metz's ideas were taken up, digested, refined, reinterpreted, criticized and sometimes dismissed, but rarely ignored. This volume collects and translates into English a series of interviews with Metz, who offers readable summaries, elaborations, and explanations of his sometimes complex and demanding theories of film. We also discover the contents of his (...)
     
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  4. Problemes de denotation dans le film de fiction.Christian Metz - 1970 - In Algirdas Julien Greimas (ed.), Sign, Language, Culture. The Hague: Mouton. pp. 403--413.
     
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  5. Classic debates. The cinema : language or language system?Christian Metz - 2010 - In Marc Furstenau (ed.), The Film Theory Reader: Debates and Arguments. Routledge.
     
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  6.  13
    "Trucage" and the Film.Christian Metz & Françoise Meltzer - 1977 - Critical Inquiry 3 (4):657-675.
    Trucage then exists when there is deceit. We may agree to use this term when the spectator ascribes to the diegesis the totality of the visual elements furnished him. In films of the fantastic, the impression of unreality is convincing only if the public has the feeling of partaking, not of some plausible illustration of a process obeying a nonhuman logic, but of a series of disquieting or "impossible" events which nevertheless unfold before him in the guise of eventlike appearances. (...)
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  7.  12
    Entretien sur la sémiologie du cinéma.Raymond Bellour & Christian Metz - 1971 - Semiotica 4 (1):1-30.
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    Spécificité des codes et spécificité des langages.Christian Metz - 1969 - Semiotica 1 (4).
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    L’étude sémiologique du langage cinématographique: a quelle distance en sommes-nous d’une possibilité réelle de formalisation?Christian Metz - 1976 - Communications 2 (2):187-200.
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