Mehr zum Buch
First published in 1969, *Signs and Meaning in the Cinema* transformed the emerging discipline of film studies. Remarkably eclectic and informed, Peter Wollen's highly influential and groundbreaking work remains a brilliant and accessible theorization of film as an art form and as a sign system. The book is divided into three main sections. The first explores the work of Sergei Eisenstein as filmmaker, designer, and aesthetician. The second, which contains a celebrated comparison of the films of John Ford and Howard Hawks, is an exposition and defense of the auteur theory. The third formulates a semiology of the cinema, invoking cinema as an exemplary test case for comparative aesthetics and general theories of signification. Wollen's conclusion argues for an avant-garde cinema, bringing post-structuralist ideas into his discussion of Godard and other contemporaries.
Buchkauf
Signs and Meaning in the Cinema, Peter Wollen
- Sprache
- Erscheinungsdatum
- 1970
- product-detail.submit-box.info.binding
- (Paperback)
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- Titel
- Signs and Meaning in the Cinema
- Sprache
- Englisch
- Autor*innen
- Peter Wollen
- Erscheinungsdatum
- 1970
- Einband
- Paperback
- Seitenzahl
- 168
- ISBN10
- 0500480028
- ISBN13
- 9780500480021
- Reihe
- Schlagwörter
- Kinos, Lichtspielhäuser
- Beschreibung
- First published in 1969, *Signs and Meaning in the Cinema* transformed the emerging discipline of film studies. Remarkably eclectic and informed, Peter Wollen's highly influential and groundbreaking work remains a brilliant and accessible theorization of film as an art form and as a sign system. The book is divided into three main sections. The first explores the work of Sergei Eisenstein as filmmaker, designer, and aesthetician. The second, which contains a celebrated comparison of the films of John Ford and Howard Hawks, is an exposition and defense of the auteur theory. The third formulates a semiology of the cinema, invoking cinema as an exemplary test case for comparative aesthetics and general theories of signification. Wollen's conclusion argues for an avant-garde cinema, bringing post-structuralist ideas into his discussion of Godard and other contemporaries.