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Christian Metz (French:; December 12, 1931 – September 7, 1993) was a French film theorist, best known for pioneering film semiotics, the application of theories of signification to the cinema. During the 1970s, his work had a major impact on film theory in France, Britain, Latin America, and the United States. [ 1 ]
Louis Althusser - Marxist writer who wrote about mirror mis-recognition and the role it plays in forming identities, to explore the relationship between cinema goers and film texts. Jean-Louis Comolli; Christian Metz - argued that viewing film is only possible by voyeurism (or ‘scopophilia’: Greek for love of looking), best seen in silent film.
The focus of this theoretical film debate was the viewer subject and its relationship to cinema. The starting point was formed by the considerations of the French theorist Jean Louis Baudry and the writings on film theory by Christian Metz, whose Le signifiant imaginaire. Psychoanalyse et cinéma (1977, dt.: The imaginary signifier.
This work highlighted film semiotics as a new tool in art criticism. The book provided an overview of previous thinkers and defined terms critical to semiotic film theory. “This book is intended as a didactic introduction to the vocabulary of the field, not as a series of interventions in film theory” [1] Part One The Origins of Semiotics
Structuralist film theory is a branch of film theory that is rooted in structuralism, ... Calvin Pryluck, [3] Christian Metz. [4] and Will Wright. [5] See also.
Jean-Louis Baudry (March 2, 1930 – October 3, 2015) was a French novelist, Tel Quel literary editor, and psychoanalytic film theorist.. He is best known for "Ideological Effects of the Basic Cinematographic Apparatus" (1970) [1] and "The Apparatus: Metapsychological Approaches to the Impression of Reality in Cinema" (1975), [2] two essays which pioneered apparatus theory, a combination of ...
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Christian Metz was a French film critic who applied principles of Saussurean semiology alongside concepts sourced from Lacanian psychoanalysis to analyse film texts. [18] [19] In his seminal work Psychoanalysis and Cinema: The Imaginary Signifier, Metz identifies the pleasure of cinema as something which arises from viewer identification. [17]