Search Results for metz

...Bertrand Augst © 1981 by Camera Obscura 1981 Metz’s Move Bert ra nd A tip t Written in 1975, Christian Metz’s “Metaphor/Metonymy, or the Imaginary Referent” has been completely ignored since its publica- tion in 1977. Such a massive indifference seems somewhat surprising...

... beaucoup): un discours calme sur le cintma. Christian Metz’ The publication for the first time in English of segments of Christian Metz’s “Metaphor/Metonymy, or the Imaginary Referent” affords a welcome opportunity to reconsider Metz‘s prior...

...Constance Penley © 1981 by Camera Obscura 1981 La jetle (Chris Marker, 1963) Introduction to “Metaphor/Metonymy, or the Imaginary Referent” Constance Penley Roland Barthes once described Christian Metz’s style as one of “rabid exactitude,” embodying the jouissance of the language...

... a complementary area of inquiry by offering a dossier on the work of Christian Metz, a dossier which includes part of a previously unpublished translation of Metz’s “Metaphor/Meton- ymy, or the Imaginary Referent,” as well as articles that consider the importance of Metz’s work from several perspectives...

...Christian Metz; Celia Britton; Annwyl Williams © 1981 by Camera Obscura 1981 ∗“Métaphore/Métonymie, ou le référent imaginaire” was first published as the fourth section of Le Signifiant imaginaire: psychanalyse et cinéma (Paris: U.G.E., 10/18, 1977). The book will appear...

... specific operations intrude with greater or lesser insis- tence in the work of defilement. A speed variation of a few frames per 95 second is enough to reveal the ever threatening presence of machination m cmerna. In the course of his discussion of special effects and cinema, Christian Metz remarked...

... Copyright © 1990 by The Johns Hopkins University Press 1989 332 Linda Williams In 1975 I was studying in the seminar of Christian Metz at the ficole des Hautes fitudes. The topic was what was to become his book on the imaginary signifier. I have a vivid memory...

... , Colin , ‘Realism and the Cinema: Notes on some Brechtian theses’, Screen , vol. 15 , 2 , Summer 1974 . 19. Metz , Christian , ‘Le signifiant imaginaire’, Communications , no. 23, May 1975 , 3 –55. Translated in English by Ben Brewster as 'The Imaginary Signifier' in Screen, vol. 16, no. 2...

... percep- tive analyses describe a formal logic of subversion of expectation that lacks any substantive engagement with the concept of irony. This lack can be attributed partly to a reliance on a “ready-made,” mechanical application of the theoretical work of Metz and Lacan...

... functioning (p. For Christian Metz the distinction that corresponds in many ways to Barthes’s work vs. text is that between the text (e.g. the film, what Barthes would call the work) which is the physical object and the textual system. The text might be larger than a film (e.g. a genre...

... with Foucault, LCvi-Strauss, Barthes, Metz, Rosolato, Laplanche and Pontalis, and others. An edition of the interviews alone, including a second interview with LCvi-Strauss, has been published. Paris: 10/18 U.E.G., 1978. L’analyse du film. Forthcoming, Paris: Editions de l’Albatros, 1979...

...) on psychoanalysis and cinema, co-edited by Kuntzel, Raymond Bellour and Christian Metz, and so it was written to be read in the context of Bellour’s “Le blocage symbolique,” Metz’s “The Imaginary Signifier” and “The Fiction Film and Its Spectator,” and Jean-Louis Baudry’s “The Apparatus: Metapsychological...

...Janet Bergstrom Copyright © 1979 by Camera Obscura 1979 defined by Metz; in so doing, I was simply continuing Metz’s own 85 auto-critique in his notes to the syntagmatic analysis of Adieu Philip- pine. On the other hand, though, my aim was to displace...

... the methods and goals of structural linguistics were appropriate for the cinema and on the concept of cinematic specificity.’ These issues were articulated most systematically and per- suasively in the early work of Christian Metz, in particular, the rigorous and intricate Langage et cinbma (1971...

...: Selected Writings) edited by Theresa Hak Kyung Cha. Essays by Barthes, Vertov, Baudry, Deren, Huillet and Straub, Kuntzel, Augst, Vernet and Metz. Tanam Press. New York, 1981. Figures of Desire: A Theory and Analysis of Surrealist Film by Linda Williams. University...

... in film history and theory at the University of Iowa, where she has taught a course on The Sexes and Film for the past two years. She is a former Assistant Editor of Wide Angle, and has written for Wide Angle and Quarterly Review of Film Studies. Christian Metz is Directeur d’Etudes...

... makes the most of the possibility of erasing the difference by means of I'emouvoir: it makes sense, but which sense? in which parts of the film? according to what logic? It is here that Appetite ofa Bird calls attention to the specificity of filmic analysis. When Metz defines the means by which...

... Copyright © 1982 by Camera Obscura 1982 242 Index Camera Obscura/7, 8-9-10 Augst, Bertrand Metz’s Move. Vol. 3, no. 7; pp. 31-41. A u n1 on t ,Jacques This is Not a Textual Analysis: Godard’s La Chinoise. Vol. 3, no. 8-9-10; pp. I...

..., video, and cinema and video theory, where an earlier emphasis on the plenitude of the image (as in Metz’s notion of the “imaginary signifier”) seems to give way to a notion of the evanescent image, of Being rendered transitory by time.’ It is of course easy to overvalorize...

...-analyst. For Metz, the system has no physical existence; it is nothing more than a logic, a principle of coherence. . . . What characterizes the textual (the nonsystemic) is that it consists of an actual unwinding, a “concrete” object which predates the intervention of the analyst...