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Dana Polan
Impersonal Enunciation, or the Place of Film
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1168002Impersonal Enunciation, or the Place of Filmhttps://www.gandhi.com.mx/impersonal-enunciation-or-the-place-of-film-1/phttps://gandhi.vtexassets.com/arquivos/ids/1215939/d68d499e-22be-46d1-9d20-a2acc8e48678.jpg?v=638744387473070000557619MXNColumbia University PressInStock/Ebooks/<p>Christian Metz is best known for applying Saussurean theories of semiology to film analysis. In the 1970s, he used Sigmund Freuds psychology and Jacques Lacans mirror theory to explain the popularity of cinema. In this final book, Metz uses the concept of enunciation to articulate how films "speak" and explore where this communication occurs, offering critical direction for theorists who struggle with the phenomena of new media.</p><p>If a film frame contains another frame, which frame do we emphasize? And should we consider this staging an impersonal act of enunciation? Consulting a range of genres and national trends, Metz builds a novel theory around the placement and subjectivity of screens within screens, which pulls inand forces him to reassesshis work on authorship, film language, and the position of the spectator. Metz again takes up the linguistic and theoretical work of Benveniste, Genette, Casetti, and Bordwell, drawing surprising conclusions that presage current writings on digital media. Metzs analysis enriches work on cybernetic emergence, self-assembly, self-reference, hypertext, and texts that self-produce in such a way that the human element disappears. A critical introduction by Cormac Deane bolsters the connection between Metzs findings and nascent digital-media theory, emphasizing Metzs keen awareness of the methodological and philosophical concerns we wrestle with today.</p>...1159268Impersonal Enunciation, or the Place of Film557619https://www.gandhi.com.mx/impersonal-enunciation-or-the-place-of-film-1/phttps://gandhi.vtexassets.com/arquivos/ids/1215939/d68d499e-22be-46d1-9d20-a2acc8e48678.jpg?v=638744387473070000InStockMXN99999DIEbook20169780231540643_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_<p>Christian Metz is best known for applying Saussurean theories of semiology to film analysis. In the 1970s, he used Sigmund Freuds psychology and Jacques Lacans mirror theory to explain the popularity of cinema. In this final book, Metz uses the concept of enunciation to articulate how films speak and explore where this communication occurs, offering critical direction for theorists who struggle with the phenomena of new media.</p><p>If a film frame contains another frame, which frame do we emphasize? And should we consider this staging an impersonal act of enunciation? Consulting a range of genres and national trends, Metz builds a novel theory around the placement and subjectivity of screens within screens, which pulls inand forces him to reassesshis work on authorship, film language, and the position of the spectator. Metz again takes up the linguistic and theoretical work of Benveniste, Genette, Casetti, and Bordwell, drawing surprising conclusions that presage current writings on digital media. Metzs analysis enriches work on cybernetic emergence, self-assembly, self-reference, hypertext, and texts that self-produce in such a way that the human element disappears. A critical introduction by Cormac Deane bolsters the connection between Metzs findings and nascent digital-media theory, emphasizing Metzs keen awareness of the methodological and philosophical concerns we wrestle with today.</p>...(*_*)9780231540643_<p>Christian Metz is best known for applying Saussurean theories of semiology to film analysis. In the 1970s, he used Sigmund Freuds psychology and Jacques Lacans mirror theory to explain the popularity of cinema. In this final book, Metz uses the concept of enunciation to articulate how films "speak" and explore where this communication occurs, offering critical direction for theorists who struggle with the phenomena of new media.</p><p>If a film frame contains another frame, which frame do we emphasize? And should we consider this staging an impersonal act of enunciation? Consulting a range of genres and national trends, Metz builds a novel theory around the placement and subjectivity of screens within screens, which pulls inand forces him to reassesshis work on authorship, film language, and the position of the spectator. Metz again takes up the linguistic and theoretical work of Benveniste, Genette, Casetti, and Bordwell, drawing surprising conclusions that presage current writings on digital media. Metzs analysis enriches work on cybernetic emergence, self-assembly, self-reference, hypertext, and texts that self-produce in such a way that the human element disappears. A critical introduction by Cormac Deane bolsters the connection between Metzs findings and nascent digital-media theory, emphasizing Metzs keen awareness of the methodological and philosophical concerns we wrestle with today.</p>...9780231540643_Columbia University Presslibro_electonico_749b857a-9517-3aef-bc91-6d6fa8400cf8_9780231540643;9780231540643_9780231540643Dana PolanInglésMéxicohttps://getbook.kobo.com/koboid-prod-public/ingram30-epub-9fe534d0-9a44-42f7-b498-c0224aa6b336.epub2016-02-02T00:00:00+00:00Columbia University Press