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Cinema - Code and Image
In recent years a considerable degree of interest has developed in the semiology of the cinema, in the question whether it is possible to dissolve cinema criticism and cinema aesthetics into a special province of the general science of signs. It has become increasingly clear that traditional theories of film language and film grammar, which grew up spontaneously over the years, need to be reexamined and related to the established discipline of linguistics. If the concept of ‘language’ is to be used it must be used scientifically and not simply as a loose, though suggestive, metaphor. The debate which has arisen in France and Italy, around the work of Roland Barthes, Christian Metz, Pier Paolo Pasolini and Umberto Eco, points in this direction.
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