Relevant bibliographies by topics / Semiotics of film

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Academic literature on the topic 'Semiotics of film'

Author: Grafiati
Published: 4 June 2021
Last updated: 27 April 2022

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Journal articles on the topic "Semiotics of film"

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Konstantinov, Mihael. "ROLAND BARTHES AND YURII LOTMAN: SEARCH FOR MEANING IN FILM NARRATIVE." Вісник КНУКіМ Серія «Мистецтвознавство», no. 41 (December 30, 2019): 35–43. http://dx.doi.org/10.31866/2410-1176.41.2019.188528.

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The purpose of the research is to carry out a comparative analysis of the concepts of semiotics of cinema by Roland Barthes and Yurii Lotman in the context of their understanding of the nature of film language, since understanding and methods of studying of contemporary digital audiovisual art are the topic of current interest in contemporary art history. The research methodology. The contemporary study of digital audiovisual art, as a rule, takes place within the context of interdisciplinary work, therefore, one of the methodological principles of such work is structural and semiotic approach. Today, this methodological approach to study the audiovisual art is the most developed in the semiotics of cinema, therefore the visual semiotics is viewed through the semiotics of cinema. The scientific novelty of the research. For the first time a comparative analysis of Yurii Lotman’s and Roland Barthes’s semiotics of cinema within the framework of the structural and semiotic approach was carried out. The potential of this methodological approach in the study of audiovisual art has been revealed. Conclusions. The article highlights the special aspects of understanding and application of semiotic concepts by the mentioned authors based on the cinematographic material. Thus, Roland Barthes thought that problems in a semiotic study of the cinema occur when a linguistic approach is applied, and Yurii Lotman believed such study to be completely acceptable. This resulted in a different understanding by these scientists of the nature of film language, its minimal meaningful unit, the role of syntagmatics and paradigmatics in the film narration. Different perceptions of the nature of film language and its components are an important basis for the study of contemporary digital audiovisual arts. The main difficulty of semiotics of cinema is the issue of non discrete iconic (analogue) sign in the study of cinema within the framework of the structural and semiotic approach. This problem can be solved based on the legacy of semiotics of cinema of R. Barthes and Yu. Lotman. Another important characteristic of the structural and semiotic approach is its ability to be combined with other methodological approaches in the interdisciplinary study of digital audiovisual art
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Khrenov, Nikolai Andreyevich. "S.M. Eisenstein’s Aesthetics in Semiotic Perspective." Journal of Flm Arts and Film Studies 7, no. 1 (2015): 8–25. http://dx.doi.org/10.17816/vgik718-25.

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The article is devoted to the semiotic interpretation of the theoretical heritage of S.M. Eisenstein, the film maker who anticipated the structuralist approach which has been so popular from the 1960s. Back in the 1960s, Eisensteins heritage attracted the attention of Academician Vyacheslav Ivanov because he found there he found a trend for understanding cinema as a language or, to be more precise, as a semiotic system. Vyacheslav Ivanov could not but notice it, as the formation of semiotics methodology in Russia is associated with his name. No wonder that he would reflect on the background of art semiotics which in the sphere of motion pictures is associating with the name of S.M. Eisenstein. While trying to appreciate the significance of Vyacheslav Ivanovs research of Eisensteins aesthetics, the author is contemplates on the application of semiotics methodology to the cinema as a semiotic system. In this regard the article is reproducing the aura of devotion to semiotics of domestic film scholars. When explaining the meaning of the title of Ivanovs book on S. Eisenstein, the author argues that the concept of semiotics was initially developed on the stage of the formation of aesthetics as a philosophical science.
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Maulidah, Linda, Uwes Fatoni, and Atjep Muhlis. "Representasi Ukhuwah Islamiah dalam Film Pendek." Tabligh: Jurnal Komunikasi dan Penyiaran Islam 3, no. 4 (2020): 389–410. http://dx.doi.org/10.15575/tabligh.v3i4.732.

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Penelitian ini bertujuan untuk mengetahui adegan yang merepresentasikan adanya Ukhuwah Islamiah, tentang bagaimana adegan ukhuwah Islamiah ditinjau dari Semiotika model Charles Sanders Piece. Penelitian ini merupakan penelitian kualitatif dengan metode analisis Semiotika Charles Piece yang mengkaji dengan konsep Segitiga makna yaitu Representamen/tanda, Interpretant dan object. Hasil penelitian ini menemukan 14 representament adegan yang merepresentasi ukhuwah Islamiah dalam film Cinta dalam Ukhuwah. Adapun object yang merepresentasikan ukhuwah Islamiah adalah nuansa-nuansa dari ekspresi tokoh atau keadaan-keadaan yang sedang tokoh lakukan. Intrepretant yang didapat ialah bahwa dalam film tersebut menunjukan adanya faktor perusak dan penguat ukhuwah Islamiah dari perilaku-perilaku yang ditunjukan dari representament dan object.
 Kata Kunci : Film; Semiotika; Ukhuwah Islamiah
 
 Purpuses of the reseach is to know a scene that represent existence of Ukhuwah Islamiah. About how the scene of the Ukhuwah islamiah is viewed from the semiotics model of Charles sanders. This research is a qualitative study with a Semiotics analytical methods of Charles peirce, that examine the concept of the triangle meaning it is representament/sign, interpretant, and object. The results of this study Find 14 representament scenes that represent about ukhuwah Islamiah. As for the object representing ukhuwah Islamiah are nuances of a character's expression, Or the circumstances being where people are. Intepretant is obtained Or the circumstances being where people are. Interpretant is obtained in the film, it shows the destructive factor and the booster of ukhuwah Islamiah from the attitudes indicated by the representament and object.
 Keywords: Movie; Semiotic; Ukhuwah Islamiah
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Wulandari, Raras Arum. "Gambaran nilai budaya dan kearifan lokal dalam film Wood Job!" Jurnal Ilmiah Komunikasi Makna 7, no. 2 (2019): 79. http://dx.doi.org/10.30659/jikm.7.2.79-96.

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Wood Job! is a film produced by Japanese theme-rural comedy-drama. The film, directed by Yaguchi Shinobu is an adaptation of the novel �Kamusari naa naa Nichijo�by Miura Shion. It tells a story of a high school student from the city that had to go through life as a forest farmer (lumberjack) in a remote village, with still so many myths, traditions, and the homage. The existences of the film in the community have a unique meaning among other communication media. Besides regarded as effective communication media in the dissemination of ideas and concepts, the film is also a medium of artistic expression provide disclosure paths of creativity, as well as culture media which depict human life and personality of a nation. Film can be considered as the transformation of people's lives, because in the film we can see the reflection of reality. To find out how the overview of cultural values and local wisdom in this film, researcher using a qualitative descriptive analysis with reference to the use of semiotics model of Roland Barthes. Researcher examine the signs appearing through three levels of meaning, denotation, connotation, and myth. Semiotic approach chosen for semiotics can be used to describe many things that are not visible on the surface. Semiotics able to peels more about the hidden meanings in it. This research is expected to broaden the Indonesian peoples to further the preservation of nature, using natural resources wisely. It is unfortunate if Indonesia's forests which are the lungs of the world misused by elements who are not responsible for the sake of mere group.�Keywords: Culture, Local Wisdom, Semiotics, Film��AbstrakWood Job! adalah sebuah film produksi Jepang yang mengusung tema komedi-drama-rural. Film yang disutradarai oleh Shinobu Yaguchi ini merupakan adaptasi dari novel �Kamusari naa naa Nichijo� karya Shion Miura. Mengisahkan tentang seorang pelajar SMA dari kota harus menjalani kehidupan sebagai seorang petani hutan di sebuah desa terpencil, dengan masih begitu banyak mitos, tradisi, dan sisi penghormatan. Keberadaan film di tengah masyarakat mempunyai makna yang unik diantara media� komunikasi lainnya. Selain dipandang sebagai media komunikasi yang efektif dalam penyebarluasan ide dan gagasan, film juga merupakan media ekspresi seni yang memberikan jalur pengungkapan kreativitas, serta media budaya yang melukiskan kehidupan manusia dan kepribadian suatu bangsa. Film dapat dikatakan sebagai transformasi kehidupan masyarakat, karena dalam film kita bisa melihat cerminan dari realitas. Untuk mengetahui bagaimana gambaran nilai budaya dan kearifan lokal dalam film ini, peneliti menggunakan analisis deskriptif kualitatif dengan mengacu pada penggunaan model semiotika Roland Barthes. Peneliti mengkaji tanda-tanda yang muncul melalui tiga tingkatan makna, yaitu denotasi, konotasi, dan mitos. Pendekatan semiotika dipilih karena semiotika dapat digunakan untuk menjelaskan berbagai hal yang tidak tampak di permukaan. Semiotika mampu mengupas lebih dalam mengenai makna-makna yang tersembunyi di dalamnya. �Penelitian ini diharapkan mampu membuka wawasan masyarakat Indonesia untuk lebih menjaga kelestarian alam, dengan menggunakan sumber daya alam secara bijaksana. Sangat disayangkan jika hutan Indonesia yang merupakan paru-paru dunia disalahgunakan oleh oknum-oknum yang tidak bertanggung jawab demi kepentingan kelompok semata.
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Zang, Jinying. "Symbolic Tension in Contemporary Chinese Urban Film: Culture, Space and Community." Tobacco Regulatory Science 7, no. 5 (2021): 3664–70. http://dx.doi.org/10.18001/trs.7.5.1.143.

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Film semiotics is an important theory produced in the modern film period, and urban film closely responds to the process of contemporary Chinese urbanization. Borrowing the theory of film semiotics to analyze Chinese contemporary urban films, it can be found that typical cities have formed a unique symbolic tension, referring to urban culture, and having multiple symbolic elements sets to interpret the new imagination of the city. Urban film and film semiotics should jointly promote the poetic integration of various classes in the city, construct an urban emotional community, and form emotional resonance and spiritual progress.
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Zuliana, Erni. "Film “sang kyai”." Al-Fathin: Jurnal Bahasa dan Sastra Arab 2, no. 1 (2019): 1. http://dx.doi.org/10.32332/al-fathin.v2i2.1466.

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 Analysis ofFilm "Sang Kyai" (Islamic Nationalism Nusantara Perspective Semiotics Roland Barthes).One of the fundamental problems underlying the author's take on this study, becauseas long as it has begun to wear off Indonesia citizen nationalism stance. Such is the case, the tendency of citizens that Indonesia is more loved by the people of the West,dressing style that follows the culture of people of the West,so this leads to a lack of respectcopyright, the initiative of the Indonesian nation.Another unique phenomenon is when a writer tries to analyze many among small children who haven't cultivated an attitude of nationalism or patriotismby their parents this is evident from the songs the children sing a lot of them sing songs welcoming love of the opposite sexeven more deadly many of them don't know the national anthem of the Republic of Indonesia.The author tried to examine this film in the perspective of semiotics Roland Barthes.According to Roland Barthes there are three meanings in the study of semiotics are denotation, connotation and mitos. By formulating a problem formulation is; How can the representation of Islamic Nationalism signs nusantara which is contained in the film "Sang Kyai". This research uses qualitative research using type approach figure KH Hasyim Ash'ari as the driving force of Nahdhatul Ulama (NU) and the founder of the first cottage Tebuireng Jombang. In this study the author uses the analysis of semiotics Roland Barthes, a theory of semiotics examines about signs.
 The study in this research is the study of linguistic,language is a system of sound arbitrer coat of arms,used by members of a community to work together,interact, and identifyWhile the studies related to the science of signs as well as very useful once semiotik in studies of languagebecause with through signs everything can be interpreted.As for the results of this study indicate that Islamic Nationalism in the movie "Sang Kyai" perspective of semiotics Roland Barthes can be categorized into three are;(1) maintaining the unity and the unity of the country that is described in the corpus of 1, 2 and 3, (2)Cultivating Shura (consultation), which elaborated on the bodies of 4, 5 and 6,(3) the fight for Justice that is described in the corpus 7 and 8.
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Rinjani, Dian. "Mengkaji Film The Curious Case of Benjamin Button dengan Semiotika." Edsence: Jurnal Pendidikan Multimedia 1, no. 1 (2019): 35–42. http://dx.doi.org/10.17509/edsence.v1i1.17941.

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ABSTRAK Film merupakan salah satu bidang yang relevan bagi analisis semiotika. Analisis semiotik pada film berlangsung pada teks yang merupakan struktur dari produksi tanda. Bagian struktur penandaan dalam film biasanya terdapat dalam unsur tanda paling kecil, dalam film disebut scen. Penelitian ini dilakukan dengan menggunakan pendekatan kualitatif. Pendekatan ini dianggap sesuai, dengan prosedur yang dilakukan peneliti,, menghasilkan data deskriptif berupa kata kata yang dihasilkan dari mengamati tanda tanda berupa visual, gambar bergerak, bahasa tubuh dan audio/suara yang terdapat dalam film The Curious Of Benjamin Button. Ruang lingkup penelitian ini adalah beberapa potongan adegan yang mewakili film The Curious Of Benjamin Button. Bisa ditarik kesimpulan bahwa di dalam sebuah film seperti The Curious Of Benjamin Button penonton bisa membaca tanda yang diberikan oleh pemeran pemeran film The Curious Of Benjamin Button. Melalui tanda-tanda seperti suara, gerakan tubuh, raut muka,, tampilan tokoh-tokoh dan lainnya yang ada di dalam film, penonton dapat menyimpulan isi sebuah film dari tanda tanda yang diberikan oleh sutradara selama film berlangsung. Oleh karena itu dalam membuat film seperti pengambilan gambar dan semua unsur-unsur yang ada didalam sebuah film tidak bisa dibuat dengan sembarangan. Apabila pembuatan film dibuat sembarangan cerita atau maksud dari sutradara tidak akan tersampaikan dengan baik. Kata kunci: Film, Semiotika, Proxemics, Visual, Tanda. ABSTRACT Film is one of the relevant fields for semiotic analysis. The semiotic analysis of the film takes place in the text which is the structure of the sign production. Part of the marking structure in a film is usually contained in the smallest sign element, in a film called a scen. This research was conducted using a qualitative approach. This approach is considered appropriate, with the procedure carried out by the researcher, producing descriptive data in the form of words produced from observing signs in the form of visual, moving images, body language and audio / sound contained in the film The Curious Of Benjamin Button. The scope of this research are several scenes that represent the film The Curious Of Benjamin Button. It can be concluded that in a film like The Curious Of Benjamin Button, the audience can read the sign given by the cast of the film The Curious Of Benjamin Button. Through signs such as sound, body movements, facial expressions, the appearance of characters and others in the film, the audience can conclude the contents of a film from the signs given by the director during the film. Therefore, in making films such as taking pictures and all the elements in a film cannot be made carelessly. If the filmmaking is made carelessly the story or the director's intentions will not be conveyed properly. Keywords: Films, Semiotics, Proxemics, Visuals, Signs
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Pratiwi, Nanda Lifia, and Tawvicky Hidayat. "ANALISIS FILM TRILOGI CINTA SUBUH PRODUKSI DARUL QUR`AN (DAQU) MOVIE TAHUN 2014-2015 MELALUI ANALISIS SEMIOTIKA ROLAND BARTHES." Bayan lin-Naas : Jurnal Dakwah Islam 4, no. 2 (2020): 113. http://dx.doi.org/10.28944/bayanlin-naas.v4i2.587.

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AbstractResearch this purposeful for know dakwah messages in the film Love Dawn Movie Daqu production by way of semiotic. researchers use semiotics as a tool of analysis methods. Semiotics is a technique researching and interpreting signs or text.Scene dakwah messages contained in the film Trilogy of Love Dawn. Among them : Dakwah messages that to be pertient with islamic law and ethics, denotation of meaning contained in the film Love Dawn Movie Daqu production is to visualize symbols when lift scene, Ratih to break off Angga, behave a connaction with type a rival, about love that real just to god and prophet, certainty that god`s guedance just ownership god`s, and morals to propose marriage. While meaning connotations dakwah messages to approach adultery, dakwah messages to be muslima woman dutiful, to add love to god and prophet`s, to add certainty god`s guedance just ownership god`s, and morals to propose marriage. Key Words : Dakwah, Love Dawn, Semiotic.
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Hamdja, Fansier, Fathul Qorib, and Sulih Indra Dewi. "Analisis Film Kartini Dalam Perspektif Kesetaraan Gender." JURNAL SOSIAL : Jurnal Penelitian Ilmu-Ilmu Sosial 21, no. 1 (2020): 1–10. http://dx.doi.org/10.33319/sos.v21i1.48.

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The purpose of this study was to determine the efforts of gender equality contained in the Kartini film through the semiotic study of Roland Barthes. Roland Barthes's analysis is used to find out the meaning of denotation, connotation, and myth in an image contained in artistic visualization, act, and dialogue in the film "Kartini". The results of this study that the connotation meaning of the Kartini film in the perspective of gender equality is an effort to fight for gender equality by Kartini as a woman who likes to write and teach literacy to others while denotative meaningthe effort to fight for gender equality in Kartini's film is that Kartini struggles through the path of literacy because literacy is a good way to fight for gender equality, with literacy she breaks Javanese culture which considers women unequal to men andhave abilities below men.Keywords: Semiotics, Kartini, Gender equality. Keywords—: Semiotics; Kartini; Gender Equality.
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Osimo, Bruno. "Strange, very strange, like in a dream: Borders and translations in ‘Strogij Yunosha’." Sign Systems Studies 31, no. 1 (2003): 177–89. http://dx.doi.org/10.12697/sss.2003.31.1.07.

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Semiotics applied to translation studies produces an original approach that is generating scientific texts of high interest. On the other side, the notion of “translation” in a broad sense appears very important within semiotics itself, as in Ch. Peirce’s and J. Lotman’s thought. Distinguishing between translation studies’ influences on semiotics and semiotics’ influence on translation studies becomes increasingly difficult. In this article a synthesis is tried: the Soviet film ‘Strogij Yunosha’ is analyzed using the tools of both disciplines. At first the concept of “strange” is analyzed from a semiotic point of view, looking also for etymological reasons to classify strangeness as simple difference or as inimicality. Then cultural implicit is considered as the problem of mediation between Self and Other, both in a collective and in an individual (psychological) sense. The ways of relating to the Other are then considered in the light of a systemic approach to the cultural polysystem, in which the least unit or subsystem is the individual. The film is then decomposed in many “worlds”, and their borders and relations are viewed in the light of the aforementioned approaches. Such translatological analysis of the film allows to hypothesize why it was banned from the Soviet regime.
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Dissertations / Theses on the topic "Semiotics of film"

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Carboni, Camilla. "Film spectatorship and subjectivity : semiotics, complications, satisfactions." Thesis, Link to the online version, 2007. http://hdl.handle.net/10019/1671.

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Konkle, Amanda. "MARILYN MONROE’S STAR CANON: POSTWAR AMERICAN CULTURE AND THE SEMIOTICS OF STARDOM." UKnowledge, 2016. http://uknowledge.uky.edu/english_etds/28.

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Although Marilyn Monroe was one of the most famous American film stars, and a monumental cultural figure, her film work has been studied far less than her biography. Applying C.S. Peirce’s semiotic categories of icon, index, and symbol, this research explains how Monroe acquired meaning as an actress: Monroe was a powerful, but simplified, public image (an icon); an indicator of a particular historical and social context (an index); and an embodiment of significant cultural debates (a symbol). Analyzing Monroe as an icon reveals how her personal life, which contradicted her official publicity story, generated public sympathy and led to a perceived intimacy between the star and her fans. Monroe’s persona developed through her roles in films about marriage. We’re Not Married (1952) and Niagara (1953) expose the pitfalls of marriage. In response to fan criticism of Monroe’s aggressive persona in these films, however, Darryl F. Zanuck, in Gentlemen Prefer Blondes and How to Marry a Millionaire (1953), consciously distanced Monroe both from her aggressive persona and her implicit criticism of marriage. Monroe’s films, in particular, The Seven Year Itch (1955), Bus Stop (1956), and Some Like it Hot (1959), also revealed the tensions inherent in postwar understandings of female sexuality. Monroe’s role in her final completed film, The Misfits (1960), both acknowledges and resists her status as a symbol. This film unites Monroe’s screen persona and off-screen life in resistance to conventional values: her character embraces divorce, lives with a man who is not her husband, and openly criticizes men who betray trust. This film most extensively interweaves Monroe as an icon, an index, and a symbol. In so doing, it reveals how Monroe embodied the contradictions inherent in both postwar culture and Hollywood stardom.
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Nasta, Dominique. "Code structures and transgressive strategies in film." Doctoral thesis, Universite Libre de Bruxelles, 1989. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213226.

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Touzjian, Richard. "From Film to Architecture:An Extended Cinematic Design Process based on Architectural Interpretations of Narrative Film." 京都大学 (Kyoto University), 2011. http://hdl.handle.net/2433/151991.

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Godwin, Jonathan. "Film in the Classroom: Toward a More Effective Pedagogy." [Tampa, Fla.] : University of South Florida, 2003. http://purl.fcla.edu/fcla/etd/SFE0000157.

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Furstenau, Marc. "Cinema, language, reality : digitization and the challenge to film theory." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=84508.

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Digital cinema has provoked a strong response over the last decade, not only from the movie-going public, but also from film theorists. It has re-opened basic theoretical questions about cinematic representations of and reference to reality.<br>This thesis begins with a critical review of the vast theoretical literature dealing with the digitization of the cinema. Most theorists have come to the conclusion that the cinema is dead because digitization has severed the ties between what we see on the screen and real life. At root, this conclusion is derived from a structuralist, nominalist position prevalent in contemporary film theory.<br>I argue, instead, that film theory needs to re-address the complex issue of the relationship between image and reality, rather than simply accepting the traditional view. In so doing, I follow Stanley Cavell's call for a more thorough consideration of realist traditions in film theory, the premise of which is an unquestioned relationship between representation and reality.<br>The complexity and subtlety of that relationship has been addressed most systematically and fruitfully by Charles Saunders Peirce. Indeed, many structuralist theorists have made reference to Peirce in response to the shortcomings of a semiologically inflected film theory. In the second step of my argument, however, I show that structuralist theory has produced misleading conclusions, since a Peircian semiotics is incommensurable with the structuralist position. In fact, this implicit conflict has led theorists to doubt the real in the digital cinema, rather than investigating the logically necessary continuity of reality and representation, regardless of its technological kind.
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Myers, Elena K. "A Semiotic Analysis of Russian Literature in Modern Russian Film Adaptations(Case Studies of Boris Godunov and The Captain’s Daughter)." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429832017.

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Elliott, Andrew Brian Ross. "Recreation and representation : the Middle Ages on film (1950-2006)." Thesis, University of Exeter, 2009. http://hdl.handle.net/10036/88498.

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In evaluating the Middle Ages on film, this thesis combines two different critical approaches, drawn from historiography on one side and semiotics on the other. In the first chapter, I argue that historiographic criticism has largely undermined our belief in a monolithic, objective History, and that modern historical enquiry contains a tacit admission of its own subjectivity. In Chapter Two, I use these admissions to argue the case for history on film, demonstrating that in terms of the construction of history, the processes of filmmaking closely resemble those of ‘doing’ history, and that criticisms of historical films are often the same criticisms which Historians raise in respect of their own works of ‘pure history’. In the remaining chapters (3-6), I look at specific examples of types of historical character, drawn from the medieval separation of society into “those who work, those who fight and those who pray”, as well as “those who rule”. In each case, I adopt a similar methodological approach, conducting close cinematographic analysis on a range of film extracts in order to see how filmmakers have tried to construct the past visually in their representation of historical characters. Here my arguments move away from historical criticism to focus instead on aesthetics and cinematography. The overall theory is that there exist two fundamental approaches to the medieval past in film: the first iconic and syntagmatic, the second paradigmatic. Iconic approaches, I argue, work to try to recreate the lost medieval referent by using aesthetic ‘signifiers’ in order to communicate their significance to a medieval audience. The paradigm, on the other hand, works in the opposite way; in order to explain a medieval object, the filmmaker casts about for modern equivalents to use as metaphors. Where the icon recreates the object to communicate the concept, the paradigm communicates the object by re-presenting the concept.
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Hey, Jessica L. "A New Queer Trinity: A Semiotic, Genre Theory, and Auto-Ethnographic Examination of Reeling: The Chicago LGBTQ+ International Film Festival." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493984077068621.

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Rudolphson, Filip, and Anton Mannerdahl. "Ord skapar mening, tecken skapar film : En undersökning om semiotiska teckens betydelse för ett berättande i en spelfilm." Thesis, Blekinge Tekniska Högskola, Institutionen för teknik och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14711.

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Detta kandidatarbete undersöker och granskar uppbyggandet av ett berättande i en spelfilm. Syftet är att få kunskap om vad ett berättande i en spelfilm består av och vad det är som påverkar det. Genom semiotikens tecken får vi förståelse för hur allt kan få en mening och sedan användas för att kommunicera något till användaren. Begreppet multimodalitet har sedan använts för att förstå hur tecken fungerar när de behöver samspela med varandra. Vi undersöker berättandet genom att göra en egen spelfilm som vi sedan analyserar för att bättre förstå vikten bakom de val av tecken vi använde och hur berättandet påverkades av våra val. Vi kommer att presentera resultatet vi uppnått, vilka motgångar vi stött på och andra diskussioner kring resultatet.<br>This bachelor thesis examines the construction of a narrative in a fictional film. The purpose is to acquire knowledge of what a narrative in a fictional film consist of and what it affects. Through the sign of semiotics, we get an understanding of how everything can get a significance and then be used to communicate something to the user. The concept of multimodality has then been used to understand how signs work in an interplay with each other. We examine the narrative by making our own fictional film that we then analyse to get a better understanding of the importance of the signs we used and how the narrative was influenced by our choices. We will present the results we achieved, the types of adversities we encountered and other discussions about the outcome.
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Books on the topic "Semiotics of film"

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Buckland, Warren. The cognitive semiotics of film. Cambridge University Press, 2000.

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Semiotics and the analysis of film. Athlone Press, 2000.

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Semiotics and the analysis of film. Indiana University Press, 2000.

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Karl-Heinrich, Schmidt, ed. Multimodal film analysis: How films mean. Routledge, 2012.

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Colin, Michel. Langue, film, discours: Prolégomènes à une sémiologie générative du film. Klincksieck, 1985.

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Film language: A semiotics of the cinema. University of Chicago Press, 1991.

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Semiotics of exile in contemporary Chinese film. Palgrave Macmillan, 2012.

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Zeng, Hong. Semiotics of Exile in Contemporary Chinese Film. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137031631.

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Ian, Douglas. Film & meaning: An integrative theory. Continuum Publications and Film & Television Institute, 1988.

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Tsang, Hing. Semiotics and documentary film: The living sign in the cinema. De Gruyter Mouton, 2013.

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Book chapters on the topic "Semiotics of film"

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Burzlaff, Werner. "Phanéroscopies du film." In Foundations of Semiotics. John Benjamins Publishing Company, 1989. http://dx.doi.org/10.1075/fos.18.33bur.

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Zeng, Hong. "Semiotics of Photography and Exile." In Semiotics of Exile in Contemporary Chinese Film. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137031631_2.

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Scheurer, Maren, and Erik Grayson. "Introduction: Amputation and the Semiotics of “Loss”." In Amputation in Literature and Film. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74377-2_1.

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Zeng, Hong. "Semiotics of Exile and Displaced Film Codes: Jia Zhangke’s Three Films." In Semiotics of Exile in Contemporary Chinese Film. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137031631_7.

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Zeng, Hong. "Postmodern Signification and the Semiotics of Exile." In Semiotics of Exile in Contemporary Chinese Film. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137031631_3.

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Kokonis, Michalis. "The Spectator’s Reality: A Revision of Screen Space Aesthetics Through Cognitive Film Semiotics." In International Handbook of Semiotics. Springer Netherlands, 2015. http://dx.doi.org/10.1007/978-94-017-9404-6_51.

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Wånggren, Lena. "Complicating the Semiotics of Loss: Gender, Power, and Amputation Narratives." In Amputation in Literature and Film. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74377-2_3.

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Silbey, Jessica, and Meghan Hayes Slack. "The Semiotics of Film in US Supreme Court Cases." In Law, Culture and Visual Studies. Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-90-481-9322-6_9.

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Zeng, Hong. "Introduction." In Semiotics of Exile in Contemporary Chinese Film. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137031631_1.

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Zeng, Hong. "Female Doubling and Postcolonial Exile." In Semiotics of Exile in Contemporary Chinese Film. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137031631_4.

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Conference papers on the topic "Semiotics of film"

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Kochukhova, E. S. "Semiotics in Studies of Soviet Films: Limitations of the Approach." In VIII Information school of a young scientist. Central Scientific Library of the Urals Branch of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.32460/ishmu-2020-8-0039.

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The subject of the article is the key ways of applying semiotics to analysis of the Soviet films. It is shown that semiotic analysis is a common method in film studies. In Russian issues on the Soviet cinema, the problem of the lack of integration between the visual semiotics and semiotics of literature was revealed. The analysis of the video is not always carried out together with the analysis of the plot, and vice versa. The most heuristic are the issues that pay attention to both the visual and text, as well as, supplement semiotics by other methodologies.
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Kokkidou, May, Christina Tsigka, and Ifigeneia Vamvakidou. "MUSIC IN FILM SEMIOSPHERE: RECONSIDERING KUBRICK’S 2001: A SPACE ODYSSEY." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-099.

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Zecca, Federico. "COMICS IN MOTION: THE INTERSEMIOTIC TRANSLATION OF COMICS INTO FILM." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-102.

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Vargas, Celia Rubina. "EL MOTIVO DEL AGUA Y LA DIMENSIÓN MÍTICA EN EL FILM DOCUMENTAL SIGO SIENDO KACHKANIRAQMI (JAVIER CORCUERA 2013)." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-012.

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Le Quoc, Hieu. "Intersemiotic Translation in Adaptation: The Case Study of the Adaptation of Narrative Poem The Tale of Kiều (Nguyễn Du) to Cải lương Film Kim Vân Kiều (Nguyễn Bạch Tuyết)". У GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.11-4.

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We are living in the age of adaptation. In contemporary art, the power of adaptation is evidenced by the fact that a textual semiotic system is continuously passing through the different genres and means to establish new texts. Adaptation is also an intercultural translation as each work adapted experiences a cultural shift so as to adapt to the target culture. Although The Tale of Kieu (Nguyen Du) made use of the plot of Kim Van Kieu, written as the pseudonym Qingxin Cairen (青心才人, Pure Heart Talented Man), in the Vietnamese artistic context, the tale can be considered as the “original text” that provides superabundant materials for other adaptations. The Tale of Kieu is one of the Nom poetries that has been most adapted to other art forms, particularly “cải lương” (reformed theatre). In this study, we analyze the case of video-cải lương Kim Van Kieu (directed by Nguyen Bach Tuyet), to determine modes of semiotic transposition from the narrative (narrative poem) to the performance/showing (video cải lương). This inter-semiotic translation process requires that the author adapts, selects, renounces, transforms as well as encodes/decodes, as semiotics, genre, and materials belonging to the verbal semiotic system to the nonverbal semiotic system, or vice versa. To concretize this, we analyze factors that were involved or omited during the adaptation of The Tale of Kieu to Kim Van Kieu.
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Kendall, Roger A. "Music in film and animation: experimental semiotics applied to visual, sound and musical structures." In IS&T/SPIE Electronic Imaging, edited by Bernice E. Rogowitz and Thrasyvoulos N. Pappas. SPIE, 2010. http://dx.doi.org/10.1117/12.849097.

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Sugianto, Felicia, and Madeleine Aubrey. "The Exploration of Semiotics in Film to Convey Moral Massage in Bintang Jatuh Short Fiction." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imov-21.

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SUGIANTO, FELICIA, and MADELINE AUBREY. "The Exploration of Semiotics in Film to Convey Moral Massage in Bintang Jatuh Short Fiction." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imoviccon-21.

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Nuraini, Cut, and Een Nurhasanah. "Semiotics as a Tool in the Vehicle for Adaptation (Extranization) of Poetry into the Form of Film." In International Conference Recent Innovation. SCITEPRESS - Science and Technology Publications, 2018. http://dx.doi.org/10.5220/0009913506290633.

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Yılmaz, Selin, and Deniz Yengin. "Analysis of Emotional Approach of Digital Surveillance in Film Studies." In COMMUNICATION AND TECHNOLOGY CONGRESS. ISTANBUL AYDIN UNIVERSITY, 2021. http://dx.doi.org/10.17932/ctcspc.21/ctc21.020.

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Human is a social being, and needs communication to convey feelings, thoughts, beliefs, and ideologies to survive. Despite being man-made, machines do not have any feelings. However, the development of artificial intelligence poses a suggestion that machines can also think, and feel. The development of new communication technologies reveals the importance of the relationship between machines and humans. People can control the machine/robot with voice commands or hand-face-eye scans. The data processed in the machine memory can be interpreted with other algorithms and instantly give the needed information. The machine that processes the reaction of the individual sometimes may be protective for itself and the individual, and sometimes, a shadow. By recognizing the individual, the machine can turn into a dangerous and useful tool. Makine işlediği verileri saklayıp, depolamakta ve kayıt altına almaktadır. The data is protected by a machine-built firewall. However, if these data are captured, internal and external surveillance is inevitable. Nowadays, in terms of the ecology of communication, new media tools ensure the continuity of communication and facilitate the individual's socialization. In addition, the machines add speed to the life of the individual over time and space. In this study, the character structures of the machine are examined and its importance in terms of digital surveillance is revealed. The aim is to evaluate the machine in terms of digital surveillance by revealing that the machine can be protective, shadow, friend, or dangerous for the individual with the concept of artificial intelligence. In this study, the emotional intelligence of the machine and the concept of digital surveillance will be analyzed using the content analysis method and semiotics technique. In the research, randomly picked 5 Hollywood films (Ex Machina, I Robot, Bicentennial Man, Transcendence, Eagle Eye) will be analysed according to the character analysis of Jung, and the different aspects of the human and machine will be determined by making use of the emotional side of the machine and the fundamental oppositions of Barthes. In these films, the forms of the machine are different, and it is noteworthy that they have protective and shadow characters. The machine becomes dangerous by acting with its emotions. As a result, it has been revealed that the machine/robot reacts according to the data and has an important aspect in terms of digital surveillance since the machine is constantly evolving with the power of artificial intelligence, and this development makes it easier to access other tools and facilitate digital surveillance. In the eagle eye film, the machine can make digital surveillance using all the camera systems in the city.
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