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20世纪60年代,受索绪尔普通语言学影响,在电影研究领域产生了一种着眼于电影本身内在结构特征的新的理论与方法--电影符号学。然而,这种新理论、新方法一经出现便引起了不小争议。质疑者抓住电影与自然语言之间的差异,激烈地否定电影符号学。笔者通过对电影的深入研究,注意到自然语言与电影的差异,也发现了它们在根本上的相通性,从而为电影符号学的合法性提供依据。
In the 1960s, influenced by Saussure’s general linguistics, a new theory and method focused on the inherent structural features of the film itself, cinema semiotics, emerged in the field of film studies. However, this new theory, new method has caused no small controversy. The skeptics seize the differences between the film and the natural language, denying movie semiotics. Through in-depth study of the film, the author noticed the differences between natural language and film and found their fundamental connection, which provided the basis for the legitimacy of cinema semiotics.