Metaphor and FilmCambridge University Press, 1990-09-28 - 178 psl. 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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Turinys
II | 5 |
III | 20 |
IV | 37 |
Varieties of cinematic metaphor | 49 |
Objective correlative | 62 |
VI | 70 |
The minds | 97 |
On denotation and the literal in films | 133 |
Searle on metaphor | 135 |
Notes | 141 |
Bibliography | 162 |
Filmography | 171 |
175 | |
176 | |
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applied approach artistic aspects associated attempt attention audience become camera changes Chapter cinematic metaphor cited concept connections consider context created critics discussion effect Eisenstein employed entail established example existence experience explanation expression feel figurative film image Freud function further given gives human ideas identify illustration imaginative important instance interpretation issues Italy John juxtaposition language linguistic literal London marked meaning meta metonymy Metz mind modes montage nature normally noted notion object organization Oxford particular phor possess possible present principle problems provides reader reality reason reference regard relation rhetorical rules schemata Searle seems seen selected sense sentence shot significance signs similarity sound speech structure suggested symbol tenor theory things thought tion tropes understanding University Press vehicle verbal visual whole writes York