From camera to code
<p>This thesis presents a theory of film representation as a process of organizing relations in order to connote the image's status as a <em>type of representation</em>. It is, thus, a study of film form, the form of its representations. Building from such theoretical sources...
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| Format: | Thesis |
| Language: | English |
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2008
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| _version_ | 1797097876553203712 |
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| author | Vaughan, M Vaughan, Hunter |
| author_facet | Vaughan, M Vaughan, Hunter |
| author_sort | Vaughan, M |
| collection | OXFORD |
| description | <p>This thesis presents a theory of film representation as a process of organizing relations in order to connote the image's status as a <em>type of representation</em>. It is, thus, a study of film form, the form of its representations. Building from such theoretical sources as Merleau- Ponty and Deleuze, I hope here to use a phenomenological base to build a theory of film semiotics that focuses on the immanent field of film representation, which I will postulate as a structuring of the inter-dependent relationship between the content of representation and the signified source of representation.</p> <p>This relationship is infused through a film text according to various modes of differentiation: between the viewer and viewed, speaker and spoken or what, using principles of phenomenology, I call the problem of subject-object relations. In this study I use this framework of subject-object relations in order to re-conceptualize the problem of film representation and to systematize the fundamental debates in film theory. I will argue that even oppositional theories of film representation can be reconciled through their attempt to understand this immanent field as being organized so as to structure a relationship between the representation and an origin of meaning, or subject-function. This relationship is what I call a <em>system of reference</em>.</p> <p>The filmic subject-function is traditionally located within the camera itself or hi the diegetic subjectivity of a character; I will call these two systems of reference, respectively, objective and subjective representation. And, through a reconstruction of Deleuze's <em>Cinéma</em> project, I will argue that the immanent field of film representation is a constant fluctuation between these two poles, a dialogic circulation of interacting agencies and discourses. This thesis illustrates this fluctuation through a comparative analysis of two French filmmakers, Alain Resnais and Jean-Luc Godard. I will argue that, illustrating similar goals as one finds in the works of Merleau-Ponty and Deleuze, these two filmmakers radically deconstruct film codes in order to destroy the conventional division between interior and exterior that is imposed by classical notions of subjectivity.</p> |
| first_indexed | 2024-03-07T05:01:34Z |
| format | Thesis |
| id | oxford-uuid:d8752498-1a8c-48ec-b774-b3e9f1e410ea |
| institution | University of Oxford |
| language | English |
| last_indexed | 2024-03-07T05:01:34Z |
| publishDate | 2008 |
| record_format | dspace |
| spelling | oxford-uuid:d8752498-1a8c-48ec-b774-b3e9f1e410ea2022-03-27T08:48:43ZFrom camera to codeThesishttp://purl.org/coar/resource_type/c_db06uuid:d8752498-1a8c-48ec-b774-b3e9f1e410eaFranceRepresentation (Philosophy)Motion picturesCriticism and interpretationHistory and criticismEnglishPolonsky Theses Digitisation Project2008Vaughan, MVaughan, Hunter<p>This thesis presents a theory of film representation as a process of organizing relations in order to connote the image's status as a <em>type of representation</em>. It is, thus, a study of film form, the form of its representations. Building from such theoretical sources as Merleau- Ponty and Deleuze, I hope here to use a phenomenological base to build a theory of film semiotics that focuses on the immanent field of film representation, which I will postulate as a structuring of the inter-dependent relationship between the content of representation and the signified source of representation.</p> <p>This relationship is infused through a film text according to various modes of differentiation: between the viewer and viewed, speaker and spoken or what, using principles of phenomenology, I call the problem of subject-object relations. In this study I use this framework of subject-object relations in order to re-conceptualize the problem of film representation and to systematize the fundamental debates in film theory. I will argue that even oppositional theories of film representation can be reconciled through their attempt to understand this immanent field as being organized so as to structure a relationship between the representation and an origin of meaning, or subject-function. This relationship is what I call a <em>system of reference</em>.</p> <p>The filmic subject-function is traditionally located within the camera itself or hi the diegetic subjectivity of a character; I will call these two systems of reference, respectively, objective and subjective representation. And, through a reconstruction of Deleuze's <em>Cinéma</em> project, I will argue that the immanent field of film representation is a constant fluctuation between these two poles, a dialogic circulation of interacting agencies and discourses. This thesis illustrates this fluctuation through a comparative analysis of two French filmmakers, Alain Resnais and Jean-Luc Godard. I will argue that, illustrating similar goals as one finds in the works of Merleau-Ponty and Deleuze, these two filmmakers radically deconstruct film codes in order to destroy the conventional division between interior and exterior that is imposed by classical notions of subjectivity.</p> |
| spellingShingle | France Representation (Philosophy) Motion pictures Criticism and interpretation History and criticism Vaughan, M Vaughan, Hunter From camera to code |
| title | From camera to code |
| title_full | From camera to code |
| title_fullStr | From camera to code |
| title_full_unstemmed | From camera to code |
| title_short | From camera to code |
| title_sort | from camera to code |
| topic | France Representation (Philosophy) Motion pictures Criticism and interpretation History and criticism |
| work_keys_str_mv | AT vaughanm fromcameratocode AT vaughanhunter fromcameratocode |