Film Language: A Semiotics of the Cinema

by Christian Metz

Book Overview

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 cin ma: 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...

• Format: Paperback
• Language: English
• ISBN: 0226521303
• ISBN13: 9780226521305
• Release Date: December 1990
• Publisher: University of Chicago Press
• Length: 286 Pages
• Weight: 0.80 lbs.
• Dimensions: 0.7" x 5.4" x 8.1"

Customer Reviews

Film Language Decoded

As a Ph.D. student in the field of new literacy studies, I have found Metz's book an invaluable aid. He provides theoretically grounded concepts that translate film components into "language".

Film Languare: A Semiotics of the Cinema

A must know for anyone who works in the memdia biz. America lags way behind Europe in understanding the science of semiotics. This could lead to a more sane society.

The True Pioneer in Film Theory

Christian Metz's essays on film language are a milestone in semiotics and film analysis. If his terminology may be slightly hard to grasp immediately, it is because he is seeking clear and rigorously defined concepts, strongly grounded both in film practice and in structural linguistics. While structural lingusitics may no longer be a major reference in current intellectual discourse, Metz's book is indeed still extremely useful in understanding some key concepts of film, such as the "pro-filmic": what does an object become when it is standing in front of the camera? Abundant examples from French and American film generously help the reader (and it would be time to reprint and redistribute "Adieu, Philippine", which Metz thoroughly analyzes).

Semiotics in a New Realm

This book is a collection of essays that Metz wrote regarding the semiotics of film. It uses semiotical terms that may be unfamiliar to many readers, but its worth the effort, for one will find some very interesting insights into the nature of film as a signifier. Especially interesting segments regarding the semiotics of the traditional Hollywood film.