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Displaying: 41-60 of 1742 documents

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41. Semiotics: 1980
Helen Peeler Clements Symbolic Use of Weaving Designs: A Case Study
42. Semiotics: 1980
J. Norris Frederick The Structure of Metaphor
43. Semiotics: 1980
Charls Pearson The Role of Scientific Paradigms in Empirical semiotics
44. Semiotics: 1980
Leo Pap Tipping Behavior as a Semiotic Process
45. Semiotics: 1980
Peter H. Salus What is Evidence Evidence of?
46. Semiotics: 1980
Fernando Poyatos Interactive Nonverbal Categories: A Reappraisal and Elaboration
47. Semiotics: 1980
W.E. Underwood Symbolic Configurations and Two-Dimensional Mathematical Notation
48. Semiotics: 1980
Tomàs Llorens Architecture as Representation of Nature
49. Semiotics: 1980
Roberta Kevelson Peirce as Catalyst in Modern Legal Science: Consequences
50. Semiotics: 1980
Dan Hays The Rock and Roll Concert: A Semiotic Analysis
51. Semiotics: 1980
Cynthia C. Rostankowski Semiotic and Creativity
52. Semiotics: 1980
Juan Pablo Bonta Architectural Criticism as a Means to Identify Socially Shared Values: The Case of the East Building of the National Gallery
53. Semiotics: 1980
Sarah Brey Simmons More Than Words Can Say
54. Semiotics: 1980
Madeleine Mathiot The Self-Disclosure Technique for Ethnographic Elicitation
55. Semiotics: 1980
Joseph Ransdell On the Paradigm of Experience Appropriate for Semiotics
56. Semiotics: 1980
Chris Abel Architecture as Identity, I: The Essence of Architecture
57. Semiotics: 1980
Richard Lo The Measurement of Comentropy Transfer Rates
58. Semiotics: 1980
Vladimir Miličič Conventions of Poetry as Iconic Signs
59. Semiotics: 1980
Walburga von Raffler Engel, Steven G. McKnight The Perception of Nonverbal Behavior in Function of Visible Access to One or Both Interactants
60. Semiotics: 2007
Reid Perkins-Buzo Real Film: Realist Film Theory, Semiotics and the Documentary Film
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Recent work by Ian Aitken and others has sought to re-establish a "Realist approach" to the documentary film in reaction to the postmodernist, pragmatist approach popular in the 1970s and 80s. The Saussurian/Lacanian orientation o f the semiotics that played a large role in the older film theory is rejected and replaced by an analytic theory of representation based on the work of Mary Hesse, Hilary Putnam and W.V.O. Quine. Although this may seem a setback vis-a-vis semiotics, it actually opens up Realist Film Theory to an application o f the doctrine of signs more closely aligned to traditional realism, that of Pierce and Poinsot. This presentation outlines how Realist Film Theory can be enriched and developed by such an application. In particular, Aitken's model for the processing of the truth-value communicated through a documentary film can be strengthened in this manner. We will look at a short filmic example to illustrate the resulting development of the theory, manifesting how the documentary film is anchored in both reliablyrepresenting reality and creatively organizing and construing it.