Table of Contents
Acknowledgments
Introduction
PART 1: On Signs, Categories, and Reality and How They Relate to
Cinema
The Use of Signs
The Construction of Meaning
Investigating Conduct as a Form
The Categories of Behaviour
The Categorial Form of Behaviour
Logic of Relations
The Metaphysics of Pragmaticistic Semiotic
PART II: Semiotic and Its Practical Use for Cinema
Cinema 'Is' a Class of Sign
The Iconism of Cinema: A first Semiotic Approach
(From Film Pragmatics to) The Pragmaticism of Cinema
PART III: What 'Is' Cinema?
Cinema 'Is' Syntagma
Cinema 'Is' Sign Function
Cinema 'Is' Percept
Cinema 'Is' Moving Matter or Time
What Cinema Becomes: Theory Objects Compared, Reconciled,
Rejected
Intermezzo: Cinematic Imagination of Godard's Je vous salue,
Marie
PART IV: Narration in Film and Film Theory
The Narratological Question, Peirce, and Cinema
The Semiotic of Narrative Time
Cinematic Time
Intermezzo: Two Kinds of Narrative Time in Dreyer's Order
PART V: Narration, Time, and Narratologies
Ricoeurs Mimesis
Heideggers Ekstasis
Aristotles Poesis
Greimass Semiosis
Bordwells Formalism
Olmis Genesi
PART VI: Enunciation in Cinema
Enunciation: From Vagueness to Generality
Narrative Enunciation
Rhetorical Enunciation in Cinema: Meaning in Figures
Aesthetic Enunciation in Film
Epilogue: Two Aesthetic Processes in Cinema
Conclusion
Notes
Bibliography
Filmography, by Director
Promotional Information
'It would be difficult to find a scholar in communication, film,
and cultural theory as conversant regarding Peircian semiotics as
Johannes Ehrat. This richly argued book is truly compelling, and a
valuable contribution to the field.' -- Floyd Merrell, Department
of Foreign Languages and Literature, Purdue University
About the Author
Johannes Ehrat is a professor extraordinarius in the Faculty of
Social Sciences at the Pontificia Università Gregoriana.
