Acknowledgments
Introduction
PART 1: On Signs, Categories, and Reality and How They Relate to Cinema
- The Use of Signs
- The Construction of Meaning
- Investigating Conduct as a Form
- The Categories of Behaviour
- The Categorial Form of Behaviour
- Logic of Relations
- The Metaphysics of Pragmaticistic Semiotic
PART II: Semiotic and Its Practical Use for Cinema
- Cinema 'Is' a Class of Sign
- The Iconism of Cinema: A first Semiotic Approach
- (From Film Pragmatics to) The Pragmaticism of Cinema
PART III: What 'Is' Cinema?
- Cinema 'Is' Syntagma
- Cinema 'Is' Sign Function
- Cinema 'Is' Percept
- Cinema 'Is' Moving Matter or Time
- What Cinema Becomes: Theory Objects Compared, Reconciled, Rejected
- Intermezzo: Cinematic Imagination of Godard's Je vous salue, Marie
PART IV: Narration in Film and Film Theory
- The Narratological Question, Peirce, and Cinema
- The Semiotic of Narrative Time
- Cinematic Time
- Intermezzo: Two Kinds of Narrative Time in Dreyer's Order
PART V: Narration, Time, and Narratologies
- Ricoeurs Mimesis
- Heideggers Ekstasis
- Aristotles Poesis
- Greimass Semiosis
- Bordwells Formalism
- Olmis Genesi
PART VI: Enunciation in Cinema
- Enunciation: From Vagueness to Generality
- Narrative Enunciation
- Rhetorical Enunciation in Cinema: Meaning in Figures
- Aesthetic Enunciation in Film
Epilogue: Two Aesthetic Processes in Cinema
Conclusion
Notes
Bibliography
Filmography, by Director