Before reading the article, please click "Follow", which is convenient for you to discuss and share, and can bring you a different sense of participation, thank you for your support.
Wen 丨 small cai rapeseed oil
Editor丨Small Cai rapeseed oil
preface
With the rapid development of new media and the advancement of technology, film, as an important cultural art form, plays an increasingly important role in contemporary society. In the new media era, film is not only a pastime for audiences, but also a form of cultural expression with profound significance and wide influence. In this era of change, the theory and method of second semiotics provides us with a unique perspective for understanding and interpreting the film ontology.
Second, semiotics, as an important branch of cultural studies, emphasizes the complexity of signs and symbols, exploring the potential meaning and implicit message in cultural products. It provides a way to deeply analyze film works, not only stopping at superficial storylines and obvious symbols, but digging into their deep cultural meanings and metaphors by revealing the symbolic system and meaning-building process in the film itself.
Second semiotics
Second semiotics is an important theoretical framework proposed by the French philosopher Roland Barthes in the 60s of the 20th century, and it has played an important role in the field of cultural studies. Second, semiotics emphasizes the complexity of signs and symbols, attempting to reveal the underlying meaning and implicit message behind cultural products. It expands the scope of traditional semiotics, shifting attention from the interpretation of single symbols to the construction of symbol systems and the influence of cultural context.
Symbols are not just simple representations, but a way of constructing and transmitting meaning. Symbols convey cultural information and social ideas through symbolic systems and language, and construct meaning through metaphors, allusions, and symbols. The goal of the second semiotics is to reveal the ambiguity, complexity, and cultural context of symbols, and to study the ways in which symbols are used and communicated in cultural goods.
It believes that symbols can be replaced and transformed and have many possible meanings. Symbols are not limited to their superficial literal meaning, but are interconnected with cultural, historical and social contexts. Therefore, the interpretation of symbols needs to take into account the specific context and the use of cultural language. Second, one of the central concepts of semiotics is the fungibility of symbols.
The fluidity and openness of meaning is also emphasized, and the meaning of symbols is not fixed, but constantly evolving and expanding in different contexts and interpretations. It can be reinterpreted, redefined and recombined, so the understanding of symbols needs to focus on the perspectives and perceptions of different cultural groups and individuals.
In film studies, second semiotics provides a way to dissect film works in depth. It explores the cultural context and social significance of cinema by revealing the symbolic systems, symbols, and metaphors in film. The method of second semiotics can be applied to the interpretation of image symbols, dialogues and dialogues, story structure and visual elements in film, so as to reveal the deeper meaning and symbolic construction process of film works.
Second, semiotics is a theoretical framework for cultural studies that emphasizes the complexity and ambiguity of symbols, and explores the way symbols are constructed and transmitted. It provides us with new perspectives for understanding cultural products and social significance, and provides important methods and tools for film research and interpretation.
The relationship between film ontology and second semiotics
There is a close relationship between the film ontology and the second semiotics. As a cultural product and art form, film conveys stories, meanings and ideas through symbols and symbols. Second semiotics provides a theoretical framework for analyzing and interpreting the ontology of film, helping us understand the symbolic systems, symbols, and metaphors in film.
Images, dialogue, music, actions and other elements in the film all carry the meaning of symbols. Second, semiotics emphasizes the ambiguity and complexity of symbols, and by analyzing the symbols in film, we can gain insight into the cultural message, social concepts, and personal psychology they convey.
Symbols in movies often go beyond their superficial meaning, constructing deeper meanings through metaphors and symbols. The second semiotic approach can help us interpret the metaphors and symbols in films, revealing the cultural identity, social issues, and psychological implications behind the film.
Symbols in film and television works are not fixed, but can be replaced and transformed. Different cultures and audiences may have different understandings and interpretations of the symbols in the film, so the meaning of the symbols is open and fluid. The second semiotic approach encourages us to interpret film symbols from multiple perspectives, taking into account the perspectives of different cultural backgrounds and individuals.
Second, semiotics also focuses on the interrelationship between symbols and cultural contexts. As a cultural product, cinema reflects and is influenced by specific social and historical contexts. Second, the semiotic approach emphasizes the relationship between film ontology and culture, history and society, helping us understand the specific cultural context and social significance of film works.
There is a close relationship between the film ontology and the second semiotics. Second semiotics provides a theoretical framework for in-depth interpretation of the ontology of film, helping us understand the symbolic systems, symbols, and metaphors in film. By applying the methods of second semiotics, we can better understand the multi-layered meaning of film as a cultural product, and reveal the cultural background, social concepts and personal psychology within it.
Second, semiotics methods and case studies for distinguishing film ontology
The second semiotic approach to the identification of film ontology can be applied to many aspects, including image symbols, dialogue and dialogue, and story structure.
Image is one of the most intuitive symbols of film, it conveys meaning through images, colors, composition, and lens language. From the perspective of second semiotics, the ambiguity and symbolism of image symbols can be analyzed. In the movie "Fight Club", director David Fincher expresses the loneliness and indifference in the protagonist's heart by using blue filters and cold-colored images. This choice of color is not only a visual effect, but also alludes to the theme of people's mental state and social indifference in modern cities.
The dialogue and dialogue in the film are also important carriers of symbols, which carry the communication between characters and the transmission of ideas. Through the method of second semiotics, metaphors, allusions, and symbolism in dialogue and dialogue can be analyzed. In the movie "The Dark Knight", the oral expression of the villain Joker is extremely symbolic. He often uses words such as darkness, chaos, and fear, alluding to his subversion of the social order and the challenge to people's inner fears.
Second, semiotics can also be applied to analyze the story structure and plot development of films. The events, turning points, and endings in a story can all be seen as combinations and deductions of symbols. By analyzing the symbols and meanings in the structure of the story, we can reveal the cultural concepts and social meanings behind the film.
The movie "A Clockwork Orange" shows the complexity of the protagonist's psychological changes and social violence through a non-linear story structure and time jump. This use of story structure is not only to tell a story, but also to emphasize the moral dilemmas in society and the free will of individuals.
When conducting a case study of the second semiotics, it is necessary to interpret it in the context of the specific situation and background of the film, taking into account the director's intention, cultural context and the audience's interpretation possibilities. By deeply analyzing the symbolic system and meaning-building process in film, we can reveal the deeper cultural meaning, social concept and personal psychology of film works. This approach enriches our understanding of film and helps us better interpret and appreciate what makes film unique as an art form.
Second, semiotics analyzes the meaning and enlightenment of film ontology
Second, semiotics' identification of film ontology provides a way to deeply understand and interpret film works, and film, as an art form, is not limited to the literal meaning, but can be interpreted and understood in a variety of ways. By applying the method of second semiotics, we can expand the interpretation of film, open up a variety of possibilities, and understand and appreciate film works at a deeper level.
As a cultural product, cinema reflects and is influenced by specific social and historical contexts. By applying the method of second semiotics, we can delve into the symbols, symbols, and metaphors in film, revealing cultural identity, social issues, and psychological implications. Such analysis helps us better understand the specific cultural context and social significance of film works.
Each audience has a different background, perception and experience, so the interpretation of the film will also be different. The second semiotic approach encourages us to interpret film symbols from multiple perspectives, taking into account the perspectives of different cultural backgrounds and individuals. This interpretation of audience participation and diversity provides a richer perspective for the understanding and appreciation of the film.
Film is not only a visual and auditory enjoyment, but also an artistic construction full of symbols, symbols and meanings. By deeply analyzing the symbolic system and meaning-building process in film, we can reveal the deeper cultural meaning, social concept and personal psychology of film works. This understanding helps us better appreciate the creative and artistic value of film.
Second, semiotics, the identification of film ontology, provides a way to deeply understand and interpret film works. It makes us recognize the ambiguity of film, the importance of cultural context and audience participation, and the complexity of art forms. These meanings and implications help us better appreciate films, expand our understanding of them, and think deeply about the cultural, social and personal meanings they convey.
summary
Second semiotics provides a theoretical framework for analyzing and interpreting film, helping us understand the symbolic systems, symbols, and metaphors in film. By using the method of second semiotics, we can deeply explore the image symbols, dialogues and dialogues, and story structure of films, revealing the cultural background, social significance and individual psychology in them. This approach emphasizes the ambiguity and openness of symbols, the importance of audience participation and interpretation, and the complexity of film as an art form.
It helps us go beyond the literal meaning and explore the multiple symbols and metaphors in the film, thus revealing the deeper meaning and cultural context conveyed by the film. In addition, Second Semiotics also encourages us to consider the perspectives and interpretations of different audiences, recognizing that each person has a unique cultural background and perception, thus expanding the possibilities of interpretation of film.
This understanding and reflection helps us explore the meaning of film works more deeply and enhance our aesthetic experience of film. In short, the discriminating method of the second semiotics provides us with useful tools and perspectives for understanding and interpreting the ontology of film in the new media era.
bibliography
[1] Another Film "Deployment": Transmediation and Knowledge Genealogy of Video Installations. ZHOU Yingnan. Journal of Beijing Film Academy, 2022
[2] Brain movie, or heart game? ——Exploring the possibility of a "strong" connection between philosophy and film. JIANG Yuhui. Film Art, 2022
[3] The World Digitally Visualized: The Identity Crisis of Film in the Age of Virtual Production. SUN Chengjian. Film Art, 2021
[4] Will Film End?—— Reflections on Media Archaeology from Semiotics to Media Archaeology. LU Tao. World Cinema, 2021
[5] Barrage: The Co-construction and Extension of Film Symbolic Texts. SUN Bohan. Film Literature, 2020