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Filmtheorie als Semiotik: Gilles Deleuze, Das Zeit-Bild. Kino 2. "Rekapitulation der Bilder und Zeichen"

Filmtheorie als Semiotik: Gilles Deleuze, Das Zeit-Bild. Kino 2. "Rekapitulation der Bilder und Zeichen"

          
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About the Book

Akademische Arbeit aus dem Jahr 2012 im Fachbereich Filmwissenschaft, Note: 1,0, Merz Akademie - Hochschule für Gestaltung Stuttgart, Veranstaltung: Fachkolloquium Film und Video II "Filmtheorie als Zeichentheorie", Sprache: Deutsch, Abstract: Die Diskussion über die Frage, ob es eine Filmsprache gibt, ist fast so alt wie der Film selbst. Doch der Diskurs einer autarken Filmsemiotik entstand erst in den 1960er Jahren und gegen Ende der 1970er Jahre hatte sich der Terminus der Filmsemiotik entwickelt. Filmsemiotik trat also nicht als eine autonome Disziplin auf, sondern untersuchte disparate Fragen. Nach der methodischen Maßgabe der strukturalen Linguistik wurde nach kleinsten Einheiten und deren Segmenten gesucht. Weiterhin versuchte man, Strukturen der filmischen Auflösung auf Strukturen des humanoiden Agierens zurückzuführen oder man suchte nach Sequenztypen, die ihrerseits konstitutives Material für filmische Signifikanz präsentieren. Hierbei orientierte man sich an den tradierten Dogmen der Montage. So verfolgte Umberto Eco einen strukturalistisch geprägten Ansatz, vergleichbar der Betrachtung der Sprache, in dem er versuchte, die kleinste filmsprachliche Unität, die da ist das Einzelbild und seine Komponenten, als Grundelement eines Zeichensystems zu charakterisieren. Eine eher kognitionale Betrachtungsweise der Filmsemiotik vertrat Pier Paolo Pasolini, der konstatierte, Film sei "...eine geschriebene Sprache der Realität..." und die Imitation menschlichen Tuns sei das strukturierende Prinzip des Films. Christian Metz schließlich vertrat zwar einen, dem Ecos vergleichbaren, Grundgedanken, negierte allerdings die Relevanz der kleinsten Zeicheneinheit und behauptete, das Einzelbild sei für den Beobachter als solches nicht wahrnehmbar, sondern es sei dagegen die größere Einheit zu betrachten, die Sequenz, die ebenso nach sprachlichen Mechanismen funktioniere. In Anschauung verschiedener Methoden der Montage bildete Metz einen Index von Sequenztypen, die er als


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Product Details
  • ISBN-13: 9783668631854
  • Publisher: Grin Verlag
  • Publisher Imprint: Grin Verlag
  • Height: 210 mm
  • No of Pages: 30
  • Spine Width: 2 mm
  • Weight: 50 gr
  • ISBN-10: 3668631859
  • Publisher Date: 27 Mar 2018
  • Binding: Paperback
  • Language: German
  • Returnable: N
  • Sub Title: Gilles Deleuze, Das Zeit-Bild. Kino 2. "Rekapitulation der Bilder und Zeichen"
  • Width: 148 mm


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