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Christian Metz (French:; December 12, 1931 – September 7, 1993) was a French film theorist, best known for pioneering film semiotics, the application of theories of signification to the cinema. During the 1970s, his work had a major impact on film theory in France, Britain, Latin America, and the United States. [ 1 ]
Christian Metz, Film Language: A Semiotics of Cinema (1974)—Essais sur la signification au cinéma (1968): This collection of Metz’s writings on cinematographic problems was informed by insights from structural linguistics.
The focus of this theoretical film debate was the viewer subject and its relationship to cinema. The starting point was formed by the considerations of the French theorist Jean Louis Baudry and the writings on film theory by Christian Metz, whose Le signifiant imaginaire. Psychoanalyse et cinéma (1977, dt.: The imaginary signifier.
Louis Althusser - Marxist writer who wrote about mirror mis-recognition and the role it plays in forming identities, to explore the relationship between cinema goers and film texts. Jean-Louis Comolli; Christian Metz - argued that viewing film is only possible by voyeurism (or ‘scopophilia’: Greek for love of looking), best seen in silent film.
Christian Metz may refer to: Christian Metz (theorist) (1931–1993), French film theorist, known for pioneering film semiotics Christian Metz (Inspirationalist) (1794–1867), German-born migrant to the U.S. who set up a religious sect
Structuralist film theory emphasizes how films convey meaning through the use of codes and conventions not dissimilar to the way languages are used to construct meaning in communication. However, structuralist film theory differs from linguistic theory in that its codifications include a more apparent temporal aspect.
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Christian Metz was a French film critic who applied principles of Saussurean semiology alongside concepts sourced from Lacanian psychoanalysis to analyse film texts. [18] [19] In his seminal work Psychoanalysis and Cinema: The Imaginary Signifier, Metz identifies the pleasure of cinema as something which arises from viewer identification. [17]