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 cinema: 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 in relation to the particular field signifying practice of film passes inevitably through a reference to (...) the work of Christian Metz. . . . The first book to be written in this field, [ Film Language ] is important not merely because of this primacy but also because of the issues it raises . . . issues that have become crucial to the contemporary argument."--Stephen Heath, Screen. (shrink)

"This is the most systematic discussion of semiotics yet published." --Choice -/- "A bravura performance." --Thomas Sebeok -/- "Nöth's handbook is an outstanding encyclopedia that provides first-rate information on many facets of sign-related studies, research results, and applications." --Social Sciences in General.

Robert Hopkins’s Picture, Image and Experience aims to provide an account of pictorial representation that vindicates the intuitions of the many, namely that pictorial representation is a deeply visual phenomenon, that an explanation of pictorial representation needs to be based on an explanation of our experience of pictures, and that there must be some sense in the idea that pictures resemble their objects. Hopkins proposes that we can show what is correct in these intuitions by explaining pictures as representations that (...) depend on a distinctive sort of perceptual experience: experienced resemblance in outline shape between a picture and its object. Experienced resemblance in outline shape is the experience of sameness of the solid angle subtended by the contours on the pictorial surface and the solid angle subtended by the actual depicted objects. Pictures don’t resemble their objects but they are experienced as such and it is sameness of outline shape or sameness of subtended solid angles that secures this experience. (shrink)

_ Convention_ was immediately recognized as a major contribution to the subject and its significance has remained undiminished since its first publication in 1969. Lewis analyzes social conventions as regularities in the resolution of recurring coordination problems-situations characterized by interdependent decision processes in which common interests are at stake. Conventions are contrasted with other kinds of regularity, and conventions governing systems of communication are given special attention.

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots. (...) John Hyman’s _The Objective Eye_ is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text? Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye? _The Objective Eye_ explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory. The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find _The Objective Eye_ challenging and absorbing. (shrink)

Coherence in conversations and in texts can be partially characterized by a set of coherence relations, motivated ultimately by the speaker's or writer's need to be understood. In this paper, formal definitions are given for several coherence relations, based on the operations of an inference system; that is, the relations between successive portions of a discourse are characterized in terms of the inferences that can be drawn from each. In analyzing a discourse, it is frequently the case that we would (...) recognize it as coherent, in that it would satisfy the formal definition of some coherence relation, if only we could assume certain noun phrases to be coreferential. In such cases, we will simply assume the identity of the entities referred to, in what might be called a “petty conversational implicature,” thereby solving the coherence and coreference problems simultaneously. Three examples of different kinds of reference problems are presented. In each, it is shown how the coherence of the discourse can be recognized, and how the reference problems are solved, almost as a by‐product, by means of these petty conversational implicatures. (shrink)

This paper argues for a possible worlds theory of the content of pictures, with three complications: depictive content is centred, two-dimensional and structured. The paper argues that this theory supports a strong analogy between depictive and other kinds of representation and the platitude that depiction is mediated by resemblance.

In a series of papers, Donald Davidson :3–17, 1984, The philosophical grounds of rationality, 1986, Midwest Stud Philos 16:1–12, 1991) developed a powerful argument against the claim that linguistic conventions provide any explanatory purchase on an account of linguistic meaning and communication. This argument, as I shall develop it, turns on cases of what I call lexical innovation: cases in which a speaker uses a sentence containing a novel expression-meaning pair, but nevertheless successfully communicates her intended meaning to her audience. (...) I will argue that cases of lexical innovation motivate a dynamic conception of linguistic conventions according to which background linguistic conventions may be rapidly expanded to incorporate new word meanings or shifted to revise the meanings of words already in circulation. I argue that this dynamic account of conventions both resolves the problem raised by cases of lexical innovation and that it does so in a way that is preferable to those who—like Davidson—deny important explanatory roles for linguistic conventions. (shrink)

Media are objects with content and character that we describe using in- phrases: in the story, in the picture, in the movie, in the dream... Like the propositional attitudes, these objects present a variety of hard problems for semantic and philosophical analysis. The Semantics of Media is an organized exploration of fundamental questions in the semantics of media. The first three chapters set out a straightforward model within the possible-worlds framework, and consider how it might account for a range of (...) notions applying to media generally: implicit vs. explicit content, propositional vs. individual content, causal vs. intentional content and the idea of a single World of the Medium. The final three chapters examine ways of elaborating the model to cover a range of phenomena keyed to the functionality of particular forms of media. Chapter Four is a discussion of fiction and our apparent reference to fictional characters. Chapter Five deals with the phenomenon of viewpoint in pictorial media. Chapter Six is a study of interactions between users and characters of media centering on the puzzling case of seeing in films. The Semantics of Media will be of interest to specialists in the fields of linguistics, philosophy and communications. (shrink)

How do hearers manage to understand speakers? And how do speakers manage to shape hearers' understanding? Lepore and Stone show that standard views about the workings of semantics and pragmatics are unsatisfactory. They advance an alternative view which better captures what is going on in linguistic communication.

In works of literary fiction, it is a part of the fiction that the words of the text are being recounted by some work-internal 'voice': the literary narrator. One can ask similarly whether the story in movies is told in sights and sounds by a work-internal subjectivity that orchestrates them: a cinematic narrator. George M. Wilson argues that movies do involve a fictional recounting (an audio-visual narration ) in terms of the movie's sound and image track. Viewers are usually prompted (...) to imagine seeing the items and events in the movie's fictional world and to imagine hearing the associated fictional sounds. However, it is much less clear that the cinematic narration must be imagined as the product of some kind of 'narrator' - of a work-internal agent of the narration. Wilson goes on to examine the further question whether viewers imagine seeing the fictional world face-to-face or whether they imagine seeing it through some kind of work-internal mediation . It is a key contention of this book that only the second of these alternatives allows one to give a coherent account of what we do and do not imagine about what we are seeing on the screen. Having provided a partial account of the foundations of film narration, the final chapters explore the ways in which certain complex strategies of cinematic narration are executed in three exemplary films: David Fincher's Fight Club , von Sternberg's The Scarlet Empress , and the Coen brothers' The Man Who Wasn't There. (shrink)

_Philosophy of Motion Pictures_ is a first-of-its-kind, bottom-up introduction to this bourgeoning field of study. Topics include film as art, medium specificity, defining motion pictures, representation, editing, narrative, emotion and evaluation. Clearly written and supported with a wealth of examples Explores characterizations of key elements of motion pictures –the shot, the sequence, the erotetic narrative, and its modes of affective address.

This revised edition includes a new Preface outlining developments in Relevance Theory since 1986, discussing the more serious criticisms of the theory, and ...

How do pictures represent? In this book Robert Hopkins casts new light on an ancient question by connecting it to issues in the philosophies of mind and perception. He starts by describing several striking features of picturing that demand explanation. These features strongly suggest that our experience of pictures is central to the way they represent, and Hopkins characterizes that experience as one of resemblance in a particular respect. He deals convincingly with the objections traditionally assumed to be fatal to (...) resemblance views, and shows how his own account is uniquely well placed to explain picturing's key features. His discussion engages in detail with issues concerning perception in general, including how to describe phenomena that have long puzzled philosophers and psychologists, and the book concludes with an attempt to see what a proper understanding of picturing can tell us about that deeply mysterious phenomenon, the visual imagination. (shrink)

This is a book about the nature of film: about the nature of moving images, about the viewer's relation to film, and about the kinds of narrative that film is capable of presenting. It represents a very decisive break with the semiotic and psychoanalytic theories of film which have dominated discussion. The central thesis is that film is essentially a pictorial medium and that the movement of film images is real rather than illusory. A general theory of pictorial representation is (...) presented, which insists on the realism of pictures and the impossibility of assimilating them to language. It criticizes attempts to explain the psychology of film viewing in terms of the viewer's imaginary occupation of a position within the world of film. On the contrary, film viewing is nearly always impersonal. (shrink)

In face-to-face interaction, speakers make multimodal contributions that exploit both the linguistic resources of spoken language and the visual and spatial affordances of gesture. In this paper, we argue that, in formulating and understanding such multimodal contributions, interlocutors apply the same principles of coherence that characterize the interpretation of natural language discourse. In particular, we use a close analysis of a series of naturally-occurring embodied discourses to argue for two key generalizations. First, communicators and their audiences draw on coherence relations (...) to establish interpretive connections between successive gestures and between gestures and speech. Second, coherence relations facilitate meaning-making by resolving the underspecified meaning of each communicative act through constrained inference over entities, propositions, and spatial frames made salient in the prior discourse. Our approach to gesture interpretation improves on previous work in better accounting for its flexibility, in capturing its constraints, and in laying the groundwork for formal and computational models. At the same time, it shows that gesture provides an important source of evidence to sharpen the theory of coherence relations and contextual resolution. (shrink)