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Semiotics of cinema. Front Cover. I︠U︡riĭ Mikhaĭlovich Lotman, Jurij Lotman. Dept. of Slavic Languages and Literature, University of Michigan, – Motion. Semiotics of Cinema. Front Cover. Jurij Lotman. University of Michigan, – Motion pictures Bibliographic information. QR code for Semiotics of Cinema. Available in the National Library of Australia collection. Author: Lotman, IU. M. ( IUrii Mikhailovich), ; Format: Book; viii, p. ; 21 cm.

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A semiotic of film is possible if one accepts that semiotics if neither a province nor a byproduct of linguistics. Der sichtbare Mensch oder dei Kutur des Films. We will contact you if necessary.

On the other semiiotics, all the more interesting is the specific status of the proper name in our language system. University of Wisconsin Press.

Marina rated it it was amazing Jul 21, Trivia About Semiotics of Cinema. This item may be a floor model or jruij return that has been used.

Semiotics of Cinema

In the Library Request this item to view in the Library’s reading rooms using your library card. Taboos against using common nouns, for example the names of diseases where naming an illness aloud would be considered as invoking it: Pagulane rated it liked it Jan 10, jurkj He was the founder of structural semiotics in culturology and is considered as the first Soviet structuralist by writing his book On the Delimitation of Linguistic and Philological Concepts of Structure Du visage au cinema.


Click here to sign up. All the more interesting is that this concept also refers to changes in the personality of the subject of communication. The appellative pup means a young dog, mongrel means a dog of mixed breed, hound is a dog used in hunting, while Fido means lotmab more than a dog whose name is Fido.

But, nonetheless, we could affirm seniotics undeniable existence and constant influence left in the form of trace: But its laws lie outside cinema and film, they are the laws of signification in general.

Michigan Slavic Contributions: Semiotics of Cinema No. 5 by Jurij Lotman (1976, Paperback)

According to Lotman, presenting everything as something old, kind, familiar, and so closely correlated with people, is not just a typical feature of myth, but also of cinema. Nevertheless, this specific sign-formation is far from being a completely new invention that Deleuze came up with in a day. The personal aura surrounding an actor, together with characteristics of his external appearance, is a totally objective factor for cinema He is an individual singularity, which in essence cannot be translated that is, generalized into common names.

In that aspect, then, they belong to the … class of signs … by physical connection [the indexical class].


Semiotics of Cinema – Jurij Lotman – Google Books

Johanna Tenso rated it really liked it Feb 16, Then, will there be any alternative way to explain this, admitting the problematic aspect of this situation? Second, we can decisively throw out a few basic assumptions crucial to the semiotics of cinema, already by and large relying on the phenomenological position.

Yuri Mikhailovich Lotman Russian: There are no discussion topics on this book yet. The ontology of the jurim image. Of course, the photographic and cinematic image has iconicity in that the image resembles what it represents, but with respect to sign type it more closely corresponds to indexical sign.

Paperbackpages. Factory of gestures [in Russian].

In our consciousness we never operate with iconic signs, which are given to us as a repre- sentation of something not here existing. Godka rated it really liked it Feb 17, Skip to main content.

Textbooks in Church Slavic. The lowest-priced item that has been used or worn previously.