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Signs and meaning in the cinema /
Peter Wollen, with a foreward by D. N. Rodowick.
edition
5th edition.
imprint
London : Palgrave Macmillan for the British Film Institute, 2013.
description
xvi, 268 p. : ill. ; 19 cm.
ISBN
1844573605, 9781844573608
format(s)
Book
Holdings
More Details
added author
imprint
London : Palgrave Macmillan for the British Film Institute, 2013.
isbn
1844573605
9781844573608
catalogue key
8916548
 
Includes bibliographical references and index.
A Look Inside
About the Author
Author Affiliation
Peter Wollen taught film at UCLA. He wrote a number of books, including the BFI Film Classic on Singin' in the Rain, published in 1992 and reprinted in a new edition in 2012. He is the co-writer (with Mark Peploe) of Michelangelo Antonioni's The Passenger (Professione: Reporter) (1974). D. N. Rodowick is William R. Kenan, Jr. Professor of Visual and Environmental Studies, and Director, Carpenter Center for the Visual Arts, at Harvard University.
Summaries
Bowker Data Service Summary
First published in 1969, 'Signs and Meaning in the Cinema' helped transform the discipline of film studies by incorporating the methodology of structuralism and semiotics. This new edition explores the way in which a new approach to the cinema can be combined with a new approach to aesthetics.
Description for Bookstore
Deals with the work of S.M. Eisenstein; the auteur theory and the recurrence of themes and images throughout a director's career; the study of cinema as a province of the general study of signs
Long Description
First published in 1969, Signs and Meaning in the Cinema transformed the emerging discipline of film studies. Remarkably eclectic and informed, Peter Wollen's highly influential and groundbreaking work remains a brilliant and accessible theorisation of film as an art form and as a sign system. The book is divided into three main sections. The first explores the work of Sergei Eisenstein as film-maker, designer and aesthetician. The second, which contains a celebrated comparison of the films of John Ford and Howard Hawks, is an exposition and defence of the auteur theory. The third formulates a semiology of the cinema, invoking cinema as an exemplary test-case for comparative aesthetics and general theories of signification. Wollen's Conclusion argues for an avant-garde cinema, bringing post-structuralist ideas into his discussion of Godard and other contemporaries. Published as part of the BFI Silver series, this fifth edition features a new foreword by film theorist David Rodowick and brings together material from the four previous editions, inviting the reader to trace the development of Wollen's thinking, and the unfolding of the discourse of cinema.
Long Description
Published as part of the BFI Silver series, this is the third edition of Peter Wollen's seminal work of film theory. First published in 1969, Signs and Meaning in the Cinema helped to transform the discipline of film studies by incorporating the methodology of structuralism and semiotics. Featuring a new foreword by David Rodowick, this text explores the way in which a new approach to the cinema can be combined with a new approach to aesthetics. The book is divided into three main sections: the first deals with the work of S.M. Eisenstein, both as a director and theorist of his art. The second concerns the auteur theory and investigates the recurrence of themes and images throughout a director's career. The third section shows how the study of cinema can be considered as a province of the general study of signs.
Long Description
Published as part of the BFI Silver series, this is the third edition of Peter Wollen's seminal work of film theory. First published in 1969, Signs and Meaning in the Cinema helped to transform the discipline of film studies by incorporating the methodology of structuralism and semiotics. Featuring a new foreword by D.N. Rodowick, this text explores the way in which a new approach to the cinema can be combined with a new approach to aesthetics. The book is divided into three main sections: the first deals with the work of S.M. Eisenstein, both as a director and theorist of his art. The second concerns the auteur theory and investigates the recurrence of themes and images throughout a director's career. The third section shows how the study of cinema can be considered as a province of the general study of signs.
Main Description
First published in 1969, Signs and Meaning in the Cinema transformed the emerging discipline of film studies. Remarkably eclectic and informed, Peter Wollen's highly influential and groundbreaking work remains a brilliant and accessible theorisation of film as an art form and as a sign system.The book is divided into three main sections. The first explores the work of Sergei Eisenstein as film-maker, designer and aesthetician. The second, which contains a celebrated comparison of the films of John Ford and Howard Hawks, is an expositionand defence of the auteur theory. The third formulates a semiology of the cinema, invoking cinema as an exemplary test-case for comparative aesthetics and general theories of signification. Wollen's Conclusion argues for an avant-garde cinema, bringingpost-structuralist ideas into his discussion of Godard and other contemporaries.Published as part of the BFI Silver series, this fifth edition features a new foreword by film theorist David Rodowick and brings together material from the four previous editions, inviting the reader to trace the development of Wollen's thinking, and the unfolding of the discourse of cinema.
Table of Contents
Foreword to the 5th Editionp. vii
Introductionp. 1
Eisenstein's Aestheticsp. 13
The Auteur Theoryp. 58
The Semiology of the Cinemap. 97
Conclusion (1972)p. 133
Appendices
The Writings of Lee Russell: New Left Review (1964-7)p. 151
Conclusion (1969)p. 200
Style and Aesthetics (1969)p. 206
Pantheon Directors (1969)p. 209
Afterword (1997): Lee Russell Interviews Peter Wollenp. 211
Booklist (1972)p. 249
Acknowledgments (1969)p. 252
Editorial Note (2013)p. 253
Indexp. 254
Table of Contents provided by Ingram. All Rights Reserved.

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