Structuralist film theory
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Structuralist film theoryis a branch offilm theorythat is rooted instructuralism,itself based onstructural linguistics.
Overview[edit]
Structuralist film theory emphasizes howfilmsconveymeaningthrough the use ofcodesand conventions not dissimilar to the way languages are used to construct meaning in communication. However, structuralist film theory differs from linguistic theory in that its codifications include a more apparent temporal aspect. In other words, the site of the study (the film) is moving in time and must be analyzed in a framework which can consider its temporality. To that end, structuralist film theory is dependent on a new kind ofsign,first proposed by thePrague linguistic circle,dubbed theostensivesign.[1]
Theoreticians[edit]
Film theorists associated with structuralism includePeter Wollen,[2]Sol Worth,Calvin Pryluck,[3]Christian Metz.[4]and Will Wright.[5]
See also[edit]
References[edit]
- ^Sternagel, Jörg, Deborah Levitt, Dieter Mersch, and Lesley Stern.Acting and Performance in Moving Image Culture: Bodies, Screens, Renderings,2012. p. 307.
- ^"Peter Wollen obituary: the maven of British film theory | Sight & Sound".British Film Institute.2019-12-20.Retrieved2023-10-23.
- ^Cook, David A. (1975)."Some Structural Approaches to Cinema: A Survey of Models".Cinema Journal.14(3): 41–54.doi:10.2307/1225133.ISSN0009-7101.
- ^Henderson, Brian (1975)."Metz: Essais I and Film Theory".Film Quarterly.28(3): 18–33.doi:10.2307/1211695.ISSN0015-1386.
- ^Wright, Will (September 1977).Sixguns and Society: A Structural Study of the Western.ISBN978-0-520-03491-4.
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