During the past decade film analysis and semiotic inquiry have meshed to produce significant changes in film theory. This thesis discusses the philosophical and epistemological shift represented by this development, resulting in the creation of semiotic models (e.g. those of Christian Metz and Umberto Eco) which consistently overemphasize the textual framework for cinematic expression. As a result, problems of performance and interpretation are ignored. / The thesis proposes a radically different strategy to explain meaning in film. To solve problems of performance the new concept of projections is proposed. Projections are defined not as images or pictures, but as sites (or performance events) of signification in film. The concept marks a fundamental shift away from close textual readings in its insistence that the cinema must be analyzed as part of a complex process of communication and exchange.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:QMM.68543 |
| Date | January 1981 |
| Creators | Burnett, Ronald Frank. |
| Publisher | McGill University |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | Electronic Thesis or Dissertation |
| Format | application/pdf |
| Coverage | Doctor of Philosophy (Graduate Program in Communications) |
| Rights | All items in eScholarship@McGill are protected by copyright with all rights reserved unless otherwise indicated. |
| Relation | alephsysno: 000113095, proquestno: AAINK51894, Theses scanned by UMI/ProQuest. |
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