Cinema and semiotic :: Peirce and film aesthetics, narration, and representation /
'Meaning' in cinema is very complex, and the flood of theories that define it have, in certain ways, left cinematic meaning meaningless. Johannes Ehrat's analysis of meaning in cinema has convinced him that what is needed is greater philosophical reflection on the construction of mean...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Toronto, Ont. :
University of Toronto Press,
©2005.
|
| Schriftenreihe: | Toronto studies in semiotics and communication.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | 'Meaning' in cinema is very complex, and the flood of theories that define it have, in certain ways, left cinematic meaning meaningless. Johannes Ehrat's analysis of meaning in cinema has convinced him that what is needed is greater philosophical reflection on the construction of meaning. In Cinema and Semiotic, he attempts to resurrect meaning by employing Charles S. Peirce's theories on semiotics to debate the major contemporary film theories that have diluted it. Based on Peirce's Semiotic and Pragmatism, Ehrat offers a novel approach to cinematic meaning in three central areas: narrative enunciation, cinematic world appropriation, and cinematic perception. Attempting a comprehensive theory of cinema - instead of the regional 'middle-ground' theories that function only on certain 'common-sense' assumptions that borrow uncritically from psychophysiology - Ehrat further demonstrates how a semiotic approach grasps the nature of time, not in a psychological manner, but rather cognitively, and provides a new understanding of the particular filmic sign process that relates a sign to the existence or non-existence of objects. Never before has Peirce been so fruitfully employed for the comprehension of meaning in cinema. |
| Beschreibung: | 1 online resource (x, 682 pages) |
| Bibliographie: | Includes bibliographical references and index. |
| ISBN: | 9781442672956 1442672951 128202907X 9781282029071 |
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| 245 | 1 | 0 | |a Cinema and semiotic : |b Peirce and film aesthetics, narration, and representation / |c Johannes Ehrat. |
| 260 | |a Toronto, Ont. : |b University of Toronto Press, |c ©2005. | ||
| 300 | |a 1 online resource (x, 682 pages) | ||
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| 504 | |a Includes bibliographical references and index. | ||
| 588 | 0 | |a Print version record. | |
| 520 | |a 'Meaning' in cinema is very complex, and the flood of theories that define it have, in certain ways, left cinematic meaning meaningless. Johannes Ehrat's analysis of meaning in cinema has convinced him that what is needed is greater philosophical reflection on the construction of meaning. In Cinema and Semiotic, he attempts to resurrect meaning by employing Charles S. Peirce's theories on semiotics to debate the major contemporary film theories that have diluted it. Based on Peirce's Semiotic and Pragmatism, Ehrat offers a novel approach to cinematic meaning in three central areas: narrative enunciation, cinematic world appropriation, and cinematic perception. Attempting a comprehensive theory of cinema - instead of the regional 'middle-ground' theories that function only on certain 'common-sense' assumptions that borrow uncritically from psychophysiology - Ehrat further demonstrates how a semiotic approach grasps the nature of time, not in a psychological manner, but rather cognitively, and provides a new understanding of the particular filmic sign process that relates a sign to the existence or non-existence of objects. Never before has Peirce been so fruitfully employed for the comprehension of meaning in cinema. | ||
| 505 | 0 | |a ""Contents""; ""Acknowledgments""; ""Introduction""; ""1 On Signs, Categories, and Reality and How They Relate to Cinema""; ""1.1 The Use of Signs""; ""1.2 The Construction of Meaning""; ""1.3 Investigating Conduct as a Form""; ""1.4 The Categories of Behaviour""; ""1.5 The Categorial Form of Behaviour""; ""1.6 Logic of Relations""; ""1.7 The Metaphysics of Pragmaticistic Semiotic""; ""2 Semiotic and Its Practical Use for Cinema""; ""2.1 Cinema �Is� a Class of Sign""; ""2.2 The Iconism of Cinema: A first Semiotic Approach""; ""2.3 (From Film Pragmatics to) The Pragmaticism of Cinema"" | |
| 505 | 8 | |a ""3 What �Is� Cinema?""""3.1 Cinema �Is� Syntagma""; ""3.2 Cinema �Is� Sign Function""; ""3.3 Cinema �Is� Percept""; ""3.4 Cinema �Is� Moving Matter or Time""; ""3.5 What Cinema Becomes: Theory Objects Compared, Reconciled, Rejected""; ""Intermezzo: Cinematic Imagination of Godard�s Je vous salue, Marie""; ""4 Narration in Film and Film Theory""; ""4.1 The Narratological Question, Peirce, and Cinema""; ""4.2 The Semiotic of Narrative Time""; ""4.3 Cinematic Time""; ""Intermezzo: Two Kinds of Narrative Time in Dreyer�s Ordet""; ""5 Narration, Time, and Narratologies"" | |
| 505 | 8 | |a ""5.1 Ricoeur�s Mimesis""""5.2 Heidegger�s Ekstasis""; ""5.3 Aristotle�s Poesis""; ""5.4 Greimas�s Semiosis""; ""5.5 Bordwell�s Formalism""; ""5.6 Olmi�s Genesi""; ""6 Enunciation in Cinema""; ""6.1 Enunciation: From Vagueness to Generality""; ""6.2 Narrative Enunciation""; ""6.3 Rhetorical Enunciation in Cinema: Meaning in Figures""; ""6.4 Aesthetic Enunciation in Film""; ""Epilogue: Two Aesthetic Processes in Cinema""; ""Conclusion""; ""Notes""; ""Bibliography""; ""Filmography""; ""Index""; ""A""; ""B""; ""C""; ""D""; ""E""; ""F""; ""G""; ""H""; ""I""; ""J""; ""K""; ""L""; ""M"" | |
| 505 | 8 | |a No -- p -- q -- r -- s -- t -- u -- v -- w -- z | |
| 600 | 1 | 0 | |a Peirce, Charles S. |q (Charles Sanders), |d 1839-1914. |
| 600 | 1 | 6 | |a Peirce, Charles S. |q (Charles Sanders), |d 1839-1914. |
| 600 | 1 | 7 | |a Peirce, Charles S. |q (Charles Sanders), |d 1839-1914 |2 fast |1 https://id.oclc.org/worldcat/entity/E39PBJB48DrKPR4PPYBj6dkxDq |
| 650 | 0 | |a Motion pictures |x Semiotics. |0 http://id.loc.gov/authorities/subjects/sh86004200 | |
| 650 | 0 | |a Motion pictures |x Aesthetics. |0 http://id.loc.gov/authorities/subjects/sh85088085 | |
| 650 | 0 | |a Semiotics and motion pictures. |0 http://id.loc.gov/authorities/subjects/sh2009009230 | |
| 650 | 6 | |a Sémiotique et cinéma. | |
| 650 | 6 | |a Cinéma |x Esthétique. | |
| 650 | 7 | |a PERFORMING ARTS |x Film & Video |x History & Criticism. |2 bisacsh | |
| 650 | 7 | |a PERFORMING ARTS |x Reference. |2 bisacsh | |
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| author | Ehrat, Johannes, 1952- |
| author_GND | http://id.loc.gov/authorities/names/no2005044311 |
| author_facet | Ehrat, Johannes, 1952- |
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| callnumber-search | PN1995 .E397 2004eb |
| callnumber-sort | PN 41995 E397 42004EB |
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| collection | ZDB-4-EBA |
| contents | ""Contents""; ""Acknowledgments""; ""Introduction""; ""1 On Signs, Categories, and Reality and How They Relate to Cinema""; ""1.1 The Use of Signs""; ""1.2 The Construction of Meaning""; ""1.3 Investigating Conduct as a Form""; ""1.4 The Categories of Behaviour""; ""1.5 The Categorial Form of Behaviour""; ""1.6 Logic of Relations""; ""1.7 The Metaphysics of Pragmaticistic Semiotic""; ""2 Semiotic and Its Practical Use for Cinema""; ""2.1 Cinema �Is� a Class of Sign""; ""2.2 The Iconism of Cinema: A first Semiotic Approach""; ""2.3 (From Film Pragmatics to) The Pragmaticism of Cinema"" ""3 What �Is� Cinema?""""3.1 Cinema �Is� Syntagma""; ""3.2 Cinema �Is� Sign Function""; ""3.3 Cinema �Is� Percept""; ""3.4 Cinema �Is� Moving Matter or Time""; ""3.5 What Cinema Becomes: Theory Objects Compared, Reconciled, Rejected""; ""Intermezzo: Cinematic Imagination of Godard�s Je vous salue, Marie""; ""4 Narration in Film and Film Theory""; ""4.1 The Narratological Question, Peirce, and Cinema""; ""4.2 The Semiotic of Narrative Time""; ""4.3 Cinematic Time""; ""Intermezzo: Two Kinds of Narrative Time in Dreyer�s Ordet""; ""5 Narration, Time, and Narratologies"" ""5.1 Ricoeur�s Mimesis""""5.2 Heidegger�s Ekstasis""; ""5.3 Aristotle�s Poesis""; ""5.4 Greimas�s Semiosis""; ""5.5 Bordwell�s Formalism""; ""5.6 Olmi�s Genesi""; ""6 Enunciation in Cinema""; ""6.1 Enunciation: From Vagueness to Generality""; ""6.2 Narrative Enunciation""; ""6.3 Rhetorical Enunciation in Cinema: Meaning in Figures""; ""6.4 Aesthetic Enunciation in Film""; ""Epilogue: Two Aesthetic Processes in Cinema""; ""Conclusion""; ""Notes""; ""Bibliography""; ""Filmography""; ""Index""; ""A""; ""B""; ""C""; ""D""; ""E""; ""F""; ""G""; ""H""; ""I""; ""J""; ""K""; ""L""; ""M"" No -- p -- q -- r -- s -- t -- u -- v -- w -- z |
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| dewey-search | 791.43/01/4 |
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index.</subfield></datafield><datafield tag="588" ind1="0" ind2=" "><subfield code="a">Print version record.</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">'Meaning' in cinema is very complex, and the flood of theories that define it have, in certain ways, left cinematic meaning meaningless. Johannes Ehrat's analysis of meaning in cinema has convinced him that what is needed is greater philosophical reflection on the construction of meaning. In Cinema and Semiotic, he attempts to resurrect meaning by employing Charles S. Peirce's theories on semiotics to debate the major contemporary film theories that have diluted it. Based on Peirce's Semiotic and Pragmatism, Ehrat offers a novel approach to cinematic meaning in three central areas: narrative enunciation, cinematic world appropriation, and cinematic perception. Attempting a comprehensive theory of cinema - instead of the regional 'middle-ground' theories that function only on certain 'common-sense' assumptions that borrow uncritically from psychophysiology - Ehrat further demonstrates how a semiotic approach grasps the nature of time, not in a psychological manner, but rather cognitively, and provides a new understanding of the particular filmic sign process that relates a sign to the existence or non-existence of objects. Never before has Peirce been so fruitfully employed for the comprehension of meaning in cinema.</subfield></datafield><datafield tag="505" ind1="0" ind2=" "><subfield code="a">""Contents""; ""Acknowledgments""; ""Introduction""; ""1 On Signs, Categories, and Reality and How They Relate to Cinema""; ""1.1 The Use of Signs""; ""1.2 The Construction of Meaning""; ""1.3 Investigating Conduct as a Form""; ""1.4 The Categories of Behaviour""; ""1.5 The Categorial Form of Behaviour""; ""1.6 Logic of Relations""; ""1.7 The Metaphysics of Pragmaticistic Semiotic""; ""2 Semiotic and Its Practical Use for Cinema""; ""2.1 Cinema â€?Isâ€? a Class of Sign""; ""2.2 The Iconism of Cinema: A first Semiotic Approach""; ""2.3 (From Film Pragmatics to) The Pragmaticism of Cinema""</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">""3 What â€?Isâ€? Cinema?""""3.1 Cinema â€?Isâ€? Syntagma""; ""3.2 Cinema â€?Isâ€? Sign Function""; ""3.3 Cinema â€?Isâ€? Percept""; ""3.4 Cinema â€?Isâ€? Moving Matter or Time""; ""3.5 What Cinema Becomes: Theory Objects Compared, Reconciled, Rejected""; ""Intermezzo: Cinematic Imagination of Godardâ€?s Je vous salue, Marie""; ""4 Narration in Film and Film Theory""; ""4.1 The Narratological Question, Peirce, and Cinema""; ""4.2 The Semiotic of Narrative Time""; ""4.3 Cinematic Time""; ""Intermezzo: Two Kinds of Narrative Time in Dreyerâ€?s Ordet""; ""5 Narration, Time, and Narratologies""</subfield></datafield><datafield tag="505" ind1="8" ind2=" "><subfield code="a">""5.1 Ricoeurâ€?s Mimesis""""5.2 Heideggerâ€?s Ekstasis""; ""5.3 Aristotleâ€?s Poesis""; ""5.4 Greimasâ€?s Semiosis""; ""5.5 Bordwellâ€?s Formalism""; ""5.6 Olmiâ€?s Genesi""; ""6 Enunciation in Cinema""; ""6.1 Enunciation: From Vagueness to Generality""; ""6.2 Narrative Enunciation""; ""6.3 Rhetorical Enunciation in Cinema: Meaning in Figures""; ""6.4 Aesthetic Enunciation in Film""; ""Epilogue: Two Aesthetic Processes in Cinema""; ""Conclusion""; ""Notes""; ""Bibliography""; 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| id | ZDB-4-EBA-ocn431555562 |
| illustrated | Not Illustrated |
| indexdate | 2024-11-27T13:16:49Z |
| institution | BVB |
| isbn | 9781442672956 1442672951 128202907X 9781282029071 |
| language | English |
| oclc_num | 431555562 |
| open_access_boolean | |
| owner | MAIN DE-863 DE-BY-FWS |
| owner_facet | MAIN DE-863 DE-BY-FWS |
| physical | 1 online resource (x, 682 pages) |
| psigel | ZDB-4-EBA |
| publishDate | 2005 |
| publishDateSearch | 2005 |
| publishDateSort | 2005 |
| publisher | University of Toronto Press, |
| record_format | marc |
| series | Toronto studies in semiotics and communication. |
| series2 | Toronto studies in semiotics and communication |
| spelling | Ehrat, Johannes, 1952- https://id.oclc.org/worldcat/entity/E39PCjvhcBmYFPV9b4PVG38bJP http://id.loc.gov/authorities/names/no2005044311 Cinema and semiotic : Peirce and film aesthetics, narration, and representation / Johannes Ehrat. Toronto, Ont. : University of Toronto Press, ©2005. 1 online resource (x, 682 pages) text txt rdacontent computer c rdamedia online resource cr rdacarrier Toronto studies in semiotics and communication Includes bibliographical references and index. Print version record. 'Meaning' in cinema is very complex, and the flood of theories that define it have, in certain ways, left cinematic meaning meaningless. Johannes Ehrat's analysis of meaning in cinema has convinced him that what is needed is greater philosophical reflection on the construction of meaning. In Cinema and Semiotic, he attempts to resurrect meaning by employing Charles S. Peirce's theories on semiotics to debate the major contemporary film theories that have diluted it. Based on Peirce's Semiotic and Pragmatism, Ehrat offers a novel approach to cinematic meaning in three central areas: narrative enunciation, cinematic world appropriation, and cinematic perception. Attempting a comprehensive theory of cinema - instead of the regional 'middle-ground' theories that function only on certain 'common-sense' assumptions that borrow uncritically from psychophysiology - Ehrat further demonstrates how a semiotic approach grasps the nature of time, not in a psychological manner, but rather cognitively, and provides a new understanding of the particular filmic sign process that relates a sign to the existence or non-existence of objects. Never before has Peirce been so fruitfully employed for the comprehension of meaning in cinema. ""Contents""; ""Acknowledgments""; ""Introduction""; ""1 On Signs, Categories, and Reality and How They Relate to Cinema""; ""1.1 The Use of Signs""; ""1.2 The Construction of Meaning""; ""1.3 Investigating Conduct as a Form""; ""1.4 The Categories of Behaviour""; ""1.5 The Categorial Form of Behaviour""; ""1.6 Logic of Relations""; ""1.7 The Metaphysics of Pragmaticistic Semiotic""; ""2 Semiotic and Its Practical Use for Cinema""; ""2.1 Cinema â€?Isâ€? a Class of Sign""; ""2.2 The Iconism of Cinema: A first Semiotic Approach""; ""2.3 (From Film Pragmatics to) The Pragmaticism of Cinema"" ""3 What â€?Isâ€? Cinema?""""3.1 Cinema â€?Isâ€? Syntagma""; ""3.2 Cinema â€?Isâ€? Sign Function""; ""3.3 Cinema â€?Isâ€? Percept""; ""3.4 Cinema â€?Isâ€? Moving Matter or Time""; ""3.5 What Cinema Becomes: Theory Objects Compared, Reconciled, Rejected""; ""Intermezzo: Cinematic Imagination of Godardâ€?s Je vous salue, Marie""; ""4 Narration in Film and Film Theory""; ""4.1 The Narratological Question, Peirce, and Cinema""; ""4.2 The Semiotic of Narrative Time""; ""4.3 Cinematic Time""; ""Intermezzo: Two Kinds of Narrative Time in Dreyerâ€?s Ordet""; ""5 Narration, Time, and Narratologies"" ""5.1 Ricoeurâ€?s Mimesis""""5.2 Heideggerâ€?s Ekstasis""; ""5.3 Aristotleâ€?s Poesis""; ""5.4 Greimasâ€?s Semiosis""; ""5.5 Bordwellâ€?s Formalism""; ""5.6 Olmiâ€?s Genesi""; ""6 Enunciation in Cinema""; ""6.1 Enunciation: From Vagueness to Generality""; ""6.2 Narrative Enunciation""; ""6.3 Rhetorical Enunciation in Cinema: Meaning in Figures""; ""6.4 Aesthetic Enunciation in Film""; ""Epilogue: Two Aesthetic Processes in Cinema""; ""Conclusion""; ""Notes""; ""Bibliography""; ""Filmography""; ""Index""; ""A""; ""B""; ""C""; ""D""; ""E""; ""F""; ""G""; ""H""; ""I""; ""J""; ""K""; ""L""; ""M"" No -- p -- q -- r -- s -- t -- u -- v -- w -- z Peirce, Charles S. (Charles Sanders), 1839-1914. Peirce, Charles S. (Charles Sanders), 1839-1914 fast https://id.oclc.org/worldcat/entity/E39PBJB48DrKPR4PPYBj6dkxDq Motion pictures Semiotics. http://id.loc.gov/authorities/subjects/sh86004200 Motion pictures Aesthetics. http://id.loc.gov/authorities/subjects/sh85088085 Semiotics and motion pictures. http://id.loc.gov/authorities/subjects/sh2009009230 Sémiotique et cinéma. Cinéma Esthétique. PERFORMING ARTS Film & Video History & Criticism. bisacsh PERFORMING ARTS Reference. bisacsh Semiotics and motion pictures fast Motion pictures Aesthetics fast Motion pictures Semiotics fast has work: Cinema and semiotic (Text) https://id.oclc.org/worldcat/entity/E39PCGK3gf8BkqHhDVXwdWhgGb https://id.oclc.org/worldcat/ontology/hasWork Print version: Ehrat, Johannes, 1952- Cinema and semiotic. Toronto ; Buffalo : University of Toronto Press, ©2005 9780802039125 (DLC) 2005279838 (OCoLC)54775887 Toronto studies in semiotics and communication. http://id.loc.gov/authorities/names/n2002023284 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=682340 Volltext |
| spellingShingle | Ehrat, Johannes, 1952- Cinema and semiotic : Peirce and film aesthetics, narration, and representation / Toronto studies in semiotics and communication. ""Contents""; ""Acknowledgments""; ""Introduction""; ""1 On Signs, Categories, and Reality and How They Relate to Cinema""; ""1.1 The Use of Signs""; ""1.2 The Construction of Meaning""; ""1.3 Investigating Conduct as a Form""; ""1.4 The Categories of Behaviour""; ""1.5 The Categorial Form of Behaviour""; ""1.6 Logic of Relations""; ""1.7 The Metaphysics of Pragmaticistic Semiotic""; ""2 Semiotic and Its Practical Use for Cinema""; ""2.1 Cinema â€?Isâ€? a Class of Sign""; ""2.2 The Iconism of Cinema: A first Semiotic Approach""; ""2.3 (From Film Pragmatics to) The Pragmaticism of Cinema"" ""3 What â€?Isâ€? Cinema?""""3.1 Cinema â€?Isâ€? Syntagma""; ""3.2 Cinema â€?Isâ€? Sign Function""; ""3.3 Cinema â€?Isâ€? Percept""; ""3.4 Cinema â€?Isâ€? Moving Matter or Time""; ""3.5 What Cinema Becomes: Theory Objects Compared, Reconciled, Rejected""; ""Intermezzo: Cinematic Imagination of Godardâ€?s Je vous salue, Marie""; ""4 Narration in Film and Film Theory""; ""4.1 The Narratological Question, Peirce, and Cinema""; ""4.2 The Semiotic of Narrative Time""; ""4.3 Cinematic Time""; ""Intermezzo: Two Kinds of Narrative Time in Dreyerâ€?s Ordet""; ""5 Narration, Time, and Narratologies"" ""5.1 Ricoeurâ€?s Mimesis""""5.2 Heideggerâ€?s Ekstasis""; ""5.3 Aristotleâ€?s Poesis""; ""5.4 Greimasâ€?s Semiosis""; ""5.5 Bordwellâ€?s Formalism""; ""5.6 Olmiâ€?s Genesi""; ""6 Enunciation in Cinema""; ""6.1 Enunciation: From Vagueness to Generality""; ""6.2 Narrative Enunciation""; ""6.3 Rhetorical Enunciation in Cinema: Meaning in Figures""; ""6.4 Aesthetic Enunciation in Film""; ""Epilogue: Two Aesthetic Processes in Cinema""; ""Conclusion""; ""Notes""; ""Bibliography""; ""Filmography""; ""Index""; ""A""; ""B""; ""C""; ""D""; ""E""; ""F""; ""G""; ""H""; ""I""; ""J""; ""K""; ""L""; ""M"" No -- p -- q -- r -- s -- t -- u -- v -- w -- z Peirce, Charles S. (Charles Sanders), 1839-1914. Peirce, Charles S. (Charles Sanders), 1839-1914 fast https://id.oclc.org/worldcat/entity/E39PBJB48DrKPR4PPYBj6dkxDq Motion pictures Semiotics. http://id.loc.gov/authorities/subjects/sh86004200 Motion pictures Aesthetics. http://id.loc.gov/authorities/subjects/sh85088085 Semiotics and motion pictures. http://id.loc.gov/authorities/subjects/sh2009009230 Sémiotique et cinéma. Cinéma Esthétique. PERFORMING ARTS Film & Video History & Criticism. bisacsh PERFORMING ARTS Reference. bisacsh Semiotics and motion pictures fast Motion pictures Aesthetics fast Motion pictures Semiotics fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh86004200 http://id.loc.gov/authorities/subjects/sh85088085 http://id.loc.gov/authorities/subjects/sh2009009230 |
| title | Cinema and semiotic : Peirce and film aesthetics, narration, and representation / |
| title_auth | Cinema and semiotic : Peirce and film aesthetics, narration, and representation / |
| title_exact_search | Cinema and semiotic : Peirce and film aesthetics, narration, and representation / |
| title_full | Cinema and semiotic : Peirce and film aesthetics, narration, and representation / Johannes Ehrat. |
| title_fullStr | Cinema and semiotic : Peirce and film aesthetics, narration, and representation / Johannes Ehrat. |
| title_full_unstemmed | Cinema and semiotic : Peirce and film aesthetics, narration, and representation / Johannes Ehrat. |
| title_short | Cinema and semiotic : |
| title_sort | cinema and semiotic peirce and film aesthetics narration and representation |
| title_sub | Peirce and film aesthetics, narration, and representation / |
| topic | Peirce, Charles S. (Charles Sanders), 1839-1914. Peirce, Charles S. (Charles Sanders), 1839-1914 fast https://id.oclc.org/worldcat/entity/E39PBJB48DrKPR4PPYBj6dkxDq Motion pictures Semiotics. http://id.loc.gov/authorities/subjects/sh86004200 Motion pictures Aesthetics. http://id.loc.gov/authorities/subjects/sh85088085 Semiotics and motion pictures. http://id.loc.gov/authorities/subjects/sh2009009230 Sémiotique et cinéma. Cinéma Esthétique. PERFORMING ARTS Film & Video History & Criticism. bisacsh PERFORMING ARTS Reference. bisacsh Semiotics and motion pictures fast Motion pictures Aesthetics fast Motion pictures Semiotics fast |
| topic_facet | Peirce, Charles S. (Charles Sanders), 1839-1914. Peirce, Charles S. (Charles Sanders), 1839-1914 Motion pictures Semiotics. Motion pictures Aesthetics. Semiotics and motion pictures. Sémiotique et cinéma. Cinéma Esthétique. PERFORMING ARTS Film & Video History & Criticism. PERFORMING ARTS Reference. Semiotics and motion pictures Motion pictures Aesthetics Motion pictures Semiotics |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=682340 |
| work_keys_str_mv | AT ehratjohannes cinemaandsemioticpeirceandfilmaestheticsnarrationandrepresentation |