scholarly journals Impersonal Enunciation, or the Place of Film, by Christian Metz

2020 ◽  
pp. 226-229
Author(s):  
George Crosthwait
Keyword(s):  
Christian Metz

Formative Influences

2018 ◽  
Author(s):  
Hilary Radner ◽  
Alistair Fox
Keyword(s):  
Michel Foucault ◽  
Roland Barthes ◽  
Film Analysis ◽  
The 1960S ◽  
Christian Metz ◽  
The Way

In this section of the interview, Bellour describes how he began to engage in film analysis in the 1960s, beginning with a sequence from Alfred Hitchcock’s The Birds, with the aim of establishing the way it worked as a “text.” He proceeds to describe his personal encounters with major figures like Roland Barthes, Claude Lévi-Strauss, Michel Foucault, and his friendship with Christian Metz, suggesting how his interchanges with them helped to shape his own thinking, and how it diverged from theirs.

Prémisses Pour Une Étude Sémiologique Du Cinéma Selon Christian METZ

2016 ◽  
pp. 11
Author(s):  
Nour Elhouda Delhoum ◽  
Foudil Dahou
Keyword(s):  
Christian Metz

Conversations with Christian Metz

2017 ◽  
Author(s):  
Christian Metz
Keyword(s):  
Christian Metz

Current Problems of Film Theory: Christian Metz on Jean Mitry's L'Esthetique et Psychologie du Cinema, Vol II

Screen ◽  
1973 ◽  
Vol 14 (1-2) ◽  
pp. 40-88 ◽  
Author(s):  
D. Matias
Keyword(s):  
Film Theory ◽  
Christian Metz

Il filosofo e il cineasta. Una discussione sull'immagine cinematografica

PARADIGMI ◽  
2009 ◽  
pp. 45-51
Author(s):  
Mauro Carbone
Keyword(s):  
Key Words ◽  
Present Article ◽  
Gestalt Psychology ◽  
The Other ◽  
Significant Feature ◽  
Christian Metz ◽  
Negative Judgement

- Image The present article focuses on two topics underlying the lecture given by Maurice Merleau-Ponty in 1945 at the Institut des Hautes Études Cinématographiques, in Paris. One is the reflection on the peculiarities of filmic expression and cinematic image; the other, the convergence between the inspiration of cinema and that of philosophy, which Merleau-Ponty sees as a significant feature of his time: a convergence which the cinema of the nouvelle vague was also to acknowledge and which Christian Metz was to confirm retrospectively. Moreover, in developing both topics, the author finds a way to interpret Merleau-Ponty's lecture as an undeclared polemical response to Henri Bergson's famous negative judgement on cinema.Key words: Cinematic Image, Gestalt Psychology, Melody, Montage, Perception, Rhythm.Parole chiave: Dinamica di legittimazione, Immagine, Identitŕ, Narrazione, Soggetto, Tempo.

scholarly journals Dos efeitos de real a uma política do ócio em Abbas Kiarostami

Intexto ◽  
2020 ◽  
pp. 65-83
Author(s):  
Demétrio Rocha Pereira ◽  
Felipe Diniz ◽  
Lennon Macedo
Keyword(s):  
Roland Barthes ◽  
Jacques Ranciere ◽  
Jacques Rancière ◽  
Andre Bazin ◽  
Christian Metz

Abbas Kiarostami aplica em seus filmes e escritos certa técnica de produção de real a partir da observação de pequenos detalhes em contínuo movimento. Este artigo investiga como o cineasta elabora o ócio enquanto dispositivo para instalar no espectador um efeito de real. Esse mesmo procedimento de estudo do supérfluo e do ínfimo se codifica diferentemente quando subordinado às causalidades narrativas, resultando numa semiótica da ingenuidade. Com o suporte dos estudos de André Bazin, Christian Metz, Roland Barthes e Jacques Rancière, traçamos um caminho que apresenta personagens humanos e não humanos como vetores obstinados de uma política do ócio.

scholarly journals Christian Metz and the Codes of Cinema

2017 ◽  
Keyword(s):  
Christian Metz

scholarly journals ANALISIS GENDER FILM SALAH BODI MELALUI SEMIOTIKA CHRISTIAN METZ

2019 ◽  
Vol 16 (1) ◽  
Author(s):  
Mohammad Mahrush Ali
Keyword(s):  
Sexual Orientation ◽  
Data Collection ◽  
Gender Identity ◽  
Review Literature ◽  
Main Character ◽  
Literature Study ◽  
Social Responses ◽  
Qualitative Descriptive ◽  
Document Review ◽  
Christian Metz

<p align="center"><strong>ABSTRAK</strong></p><p> </p><p>Tulisan ini membahas mengenai <em>gender</em> yang terdapat pada film Salah Bodi melalui semiotika Metz. Pengamatan <em>gender </em>pada tokoh utama yaitu Farhan (Andien) dan Inong (Indra). Metode yang digunakan adalah kualitatif<em> </em>deskriptif, dengan teknik pengumpulan data yaitu telaah dokumen, studi pustaka, dan wawancara. Hasil dari tulisan ini adalah (a). Menghasilkan pemaparan dari analisis menggunakan semiotika Christian Metz pada film Salah Bodi. Delapan grand sintagmatiknya yaitu <em>Autonomous Shot, Parallel Syntagma, Descriptive Syntagma,</em> <em>Alternating Syntagma, Scene, Episodic Sequence</em>, dan<em> Ordinary Sequence </em>terkandung dalam film Salah Bodi<em> </em>kecuali sintagma kurung (<em>Bracket Syntagma</em>). Rangkaian sintagmatik Metz mengungkap adegan-adegan yang berdasarkan atas <em>gender</em> dan bertujuan untuk menunjukkan kepada penonton identitas gender dari tokoh film</p><p> </p><p>(b). <em>gender</em> yang ditampilkan dalam film Salah Bodi memiliki kecenderungan berprilaku tersendiri seperti penampilan fisik, orientasi seksual, kebiasaannya, dan respon sosial dari masyarakat. Meskipun di akhir film ditunjukkan tokoh utama kembali ke kodrat aslinya. Dalam pembahasan ini juga didukung oleh argumen dari pelaku di luar film.</p><p> </p><p><strong>Kata kunci</strong>:<strong> </strong><em>Gender</em>, Film Salah Bodi, Semiotika Christian Metz.</p><p> </p><p> </p><p align="center"><strong><em>ABSTRACT</em></strong></p><p> </p><p><em>This paper discusses about gender contained in film Salah Bodi through Metz semiotics. The observation of gender is focused on the main characters, Farhan (Andien) and Inong (Indra). The method used is qualitative descriptive, with data collection techniques namely document review, literature study, and interview. The re-sults of this paper are (a). A presentation of the analysis using Christian Metz’s semiotics on the film Salah Bodi. The eight grand syntagmatic namely Autonomous Shot, Parallel Syntagma, Descriptive Syntagma, Alternating Syntagma, Scene, Episodic Sequence, and Ordinary Sequence are contained in the film Salah Bodi except Brackets Syntagm (Bracket Syntagma). The Metz’s syntagmatic sequence reveals the scenes based on gender and aims to show the audience the gender identity of the film character (b). the gender shown in the film Salah Bodi has a tendency to behave in isolation such as physical appearance, sexual orientation, habits, and social responses from the community, even though at the end of the film, the main character is shown back to his original nature. This discussion is also supported by the arguments from actors outside the film.</em></p><p> </p><p><strong><em>Keywords: </em></strong><em>Gender, Film Salah Bodi, Christian Metz Semiotics.<strong> </strong>.</em></p>

scholarly journals MAKNA IDENTITAS BUDAYA DAN KONFLIK ANTARETNIS DALAM FILM “CRAZY RICH ASIANS”

2019 ◽  
Vol 12 (1) ◽  
Author(s):  
Muhammad Abdurrahman Arsi ◽  
Alex Sobur
Keyword(s):  
Christian Metz

Penelitian berjudul “Makna Identitas Budaya dan Konflik Antaretnis dalam film Crazy Rich Asians” ini bertujuan untuk mengetahui makna identitas budaya Asia-Amerika dan konflik yang tersembunyi di balik narasi film. Metode yang digunakan dalam penelitian ini adalah kualitatif. Penelitian kualitatif ini menggunakan analisis semiotika naratif Greimas serta meminjam pemikiran Christian Metz tentang semiotika film. Semiotika naratif Greimas adalah sebuah teori dan metode yang dapat digunakan untuk mencari tanda-tanda di dalam teks naratif, baik yang tersurat pada struktur penceritaan, maupun yang tersirat pada struktur batin teks tersebut. Hasil penelitian ini menemukan bahwa makna identitas budaya Asia-Amerika dan konflik digambarkan melalui struktur luar penceritaan yang direpresentasikan melalui enam aktan, yakni sender, receiver, subject, object, dan traitor. Melalui aktan traitor (penghambat) diketahui bahwa kekuatan yang menghalangi subjek dalam meraih objeknya adalah prasangka, status sosial, dan dendam personal, sedangkan kekuatan yang mendukung subjek dalam menghadapi hambatan tersebut adalah cinta dan keberanian. Melalui skema fungsional, dinamika konflik dapat tergambar melalui urutan peristiwa kisah. Setelah melakukan analisis struktur batin dengan menggunakan semiotic square, diketahui bahwa tema utama yang mendasari struktur luar penceritaan adalah dikotomi antara Barat/Timur serta keberanian/ketakutan, berikut dengan subterm yang menegasikan dan mengimplikasikan kedua term utama.

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