Christian Metz & Film Semiotics

Semiotic Framework
Langage -> Language System Langue -> The structure implicit in every language, rules of combination embedded in the language. Deep structure.

Langage

 * 1) Langue - Absent. Structure, implicit rules of production.
 * 2) Parole - Presence. Speech. Infinite number of utterances.

Langue --> Must be the object of study because it is the part that doesn't change and it can be studied directly (where parole is too endless).

Metz says that cinema is Langage without langue. It is semiotics without fixed code. It is langage because it still communicates, it still possesses meaning.

Parole
It is speech. Langue in practices. It is sometimes called discourse.

In Metz's time the sentence is the most important part of parole/linguistics at large.

Parole is made up of:


 * 1) Phonetics
 * 2) Syntax
 * 3) Semantics

All of which are together a grammar.

Tenets of Metz's Theory
p. 47 -> Metz writes that he cannot equate Montage with Cine-Langue ("The cinema is language, above and beyond any particular effect of montage." )
 * 1) Begins with Montage

Cinematic "speech" is more than montage, it is the shot and the sequence, the image, the lighting.

Cinema has become langage by telling stories (p. 47)

Narrative made cinema language. The feature film is the most central part of film.

Double Articulation -> Breaking down language until is meaningless.

Metz says there is no minimum unit in film. Units are important for understanding units and meaning.

Involuntary perception (p. 8) where the film spectator sees the movement in film as a presence rather than an absence.

When you see something you expect to be able to touch it -