作业代写：Metz's movie code and text system

下面为大家整理一篇优秀的essay代写范文- Metz's movie code and text system，供大家参考学习，这篇论文讨论了麦茨的电影符码与文本系统。麦茨是充满理想主义和理性主义的迄今为止最深刻的电影理论家。面对语言学模式阶段企图构建电影语法与句法的失败，麦茨提出的电影符码和文本系统克服了以往影像象似或类似的问题。麦茨运用符码的概念，阐明了电影是一种不同种类和程度的系统性符码复杂体。

The system of movie symbol and text is an important stage and beneficial attempt of the research on the semiotics of Christian metz. Faced with the failure of constructing film grammar and syntax on film image and narration, metz proposed the system of film symbol and text to overcome the difficulties and defects in previous explorations and open up a wide and rich field of film semiology research. But there are problems with his theory. This paper takes the liberty to attempt to sort out, examine and analyze the relevant theories of metz and put forward some preliminary views on this issue.

The code and text system of film semiotics is an important stage and beneficial attempt of the study of the semiotics of film semiotics by Christian metz. It is his renewed effort to explore the features of film language in film images and narration, which has an important position and significance in the study of film semiotics. His treatise on film code and text system is mainly reflected in his monograph language and film. However, for a period of time, due to a variety of reasons, especially the lack of data, few domestic scholars have carried out research on metz's important views on film codes and text systems. Based on this, this paper takes the liberty to attempt to make a preliminary review, review and comment on metz's relevant theories and put forward some preliminary views on this issue. Would like to be able to shed some light on the text, youdao on the yan.

Just as in the past, metz believed that film is an ideographic symbol system and a unique language. His task is to reveal the deep structure rules hidden in the form features of film surface and explore the characteristics of film. At the beginning of language and film, metz first determined the research object of film semiotics. The first is the text, which is a specific and unique film. The second is the message, which is an action or event involving many films, not a unique existence, providing various specific information about the code; For example, the use of lighting in a film is part of the film text but is not unique to that text. The third is the code, which is constructed by the analysts, not unique, with universality, reflecting the general characteristics of the whole film; For example, movie lighting has its overall characteristics, and there are specific USES in some films, and these specific USES are messages. The fourth is the text system, that is, the structure law and state of a specific unique movie text constructed by the analyst. "" we can summarize the mission of film semiology as follows: analyze the film text to find the text system, movie codes and subcodes." "

Metz divided films into films with general characteristics and specific and unique ones. Cinema is to film, just as the "language system" in saussure's structuralist linguistics is to "spoken language", one is ideological and one is real. Similarly, the relationship between symbol and message is similar to the relationship between language system and spoken language. "Film is on the side of message and cinema is on the side of identity and homogeneity." The study of film involves the textual system analysis of specific films, while the study of cinema is related to the study of codes and the study of film language, which is obviously the main goal of the study of metz's film semiotics.

In metz's opinion, although film does not have what saussure calls a "language system" like natural language, it is still a language, a language with multiple symbols. The symbol is a series of heterogeneous information in the film research, which is used to explain the structural features constructed in a special field of ideographic process in the information, and has the characteristics of consistency, homogeneity, systematization and universality. In fact, the definition of symbol may be too strict, which makes people often associate with the consistency of "language system", because one of the major problems faced by metz semiotics is that it is difficult to apply the idea of "language system" in movies, and it is difficult to confirm some movie codes as the signifier system without a signifier. In this case, the essence of the concept of "symbol" depends not so much on the process of ideation, the relation between signifier and signified, but rather on the system of possibility selection, which depends on the system with aggregation and composition relations. "The so-called symbol is a logical existence constructed to explain the functions of aggregation and combination relationships in the text. The symbol can convey the comprehensible meaning of the combined segment and aggregator in the text without having to become an aggregator or combinator itself."

A film can never exhaust a symbol, just as a spoken language case in natural language cannot exhaust the language system. The movie codes can be divided into unique movie codes and non-unique movie codes. A unique movie symbol refers to a symbol that appears only in a movie, and a non-unique movie symbol refers to a symbol that is not unique to the movie but Shared with other languages. "Just as a symbol can appear in multiple languages, the same language can display multiple codes, some of which are not unique to that language. Inconsistency between the code and the language is a very common phenomenon. Centered on the most unique movie codes, he defined the film world as the intersection formed by the inclusion or intersection of these codes in order from unique to non-unique. For example, unique movie codes include motion photography codes, clip codes, audio-visual combination codes and so on, while non-unique codes include image-like codes, narrative codes, mechanical duplication codes and even cultural codes. He thinks that the uniqueness of film images is formed by the unique combination of iconicity, mechanical duplication, multiplicity and motion codes. The so-called unique and non-unique codes are only relative, to a certain extent, not absolute. The lines between them are actually quite blurred and constantly changing. For example, color is a feature of many arts, but the color printing in 1950s is unique to film. Recording is not unique to film, but dupion is something that no other art has. Acting is a common element of theater and film, but it is clearly different from acting. In the film, a more unique symbol is not necessarily more important than a non-unique symbol.

Movie codes can be divided into general movie codes and special movie codes, that is, movie codes and movie codes. General movie codes refer to the general codes peculiar to films, which are applicable to all films. Metz actually identifies these generic movie codes for a signifier system that does not refer to them. While special movie codes are also unique to films, they are only unique to some films. A movie symbol is a specific use of a movie symbol. For example, the punctuation symbol is a common movie symbol, while the cutting, crossing, overlapping, ingoing and fading are its special codes, namely the secondary codes. There is a combinatorial relationship among different codes in the film. They are the relations of combination, addition and superposition. The subcodes of the same code are an aggregation relationship, and they are mutually competitive, mutually exclusive and mutually substituted. For example, lighting codes and editing codes are commonly used in films, but whether to use realistic lighting or expressive lighting at a specific point in the film, whether to use montage editing or bazan long lens editing in the former Soviet union requires choices, and only one can be selected. Multiple times of a symbol cannot appear in the same movie at the same time.

Wheat, will also be Danish linguist Ye Erm, Leo about the symbols of the further extension of play, the relationship between ideographic don't have to reflect on every specific individual symbols, and the language function of things now as a whole, divides the movie codes to express codes and content, relative to a specific codes completely in content or the film text in terms of language expression, which to a certain extent, explains some codes than others seems to be more film unique, more unique. For example, alternate montage as a clip code has the signifier and signified, but it belongs to the expression code from the whole film. Content codes refer to the semantic codes that can potentially appear in any language, which are irrelevant to any special material expression, and are completely on the side of content in a certain language, such as narrative codes. Metz divided language into special language and non-special language. The former, such as road sign system, has a very limited scope, while the latter, such as natural language, has content substance almost equal to semantics. Film is a non-specific language, but some content codes can be potentially universal, but in fact do not appear in the film language, and this is not the product of clearly defined characteristics. This indicates that the feature has a deeper problem, and it is worth discussing the feature by dividing the movie symbol into the expression symbol and content symbol.

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