Metaphor and Film

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Cambridge University Press, 1990-09-28 - 178 psl.
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In Metaphor and Film, Trevor Whittock demonstrates that feature films are permeated by metaphors that were consciously introduced by directors. An examination of cinematic metaphor forces us to reconsider the nature of metaphor itself, and the ways by which such visual imagery can be recognised and understood, as well as interpreted. Metaphor and Film identifies the principal forms of cinematic metaphor, and also provides an analysis of the mental operations that one must bring to it. Recent developments in cognitive psychology, especially those relating to the nature and formation of categories, are called upon to explain these processes. Metaphor and Film ranges widely over film theory as it does over philosophical, literary, linguistic, and psychological accounts of metaphor. Particularly useful to those studying film, literature, and aesthetics, this study is also a provocative contribution to an important debate in which film theorists and philosophers are currently engaged.

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Acknowledgments page vii
1
Language metaphor and the film image
20
Planes of discourse in cinema
37
Varieties of cinematic metaphor
49
Theories of cinematic metaphor
70
The minds eye
97
On denotation and the literal in films
133
Searle on metaphor
135
Notes
141
Bibliography
162
1
171
Index
175
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