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The world is yours as a quote in the film shows the hopelessness of the whole situation in La Haine. The film contrasts the two sides of Paris. A world that remains closed to the three main characters. The are outsiders. Just like in Camus The Outsider but they are not willing existentialists. This films cleverly uses the split screen to show the harsh realities of the Parisian lifestyle of the marginalised. Unlike City of God it does not glamourise the violence in MTVesgue type of editing.In more than six decades of research since the appearence of the first comprehensive film study, The Photoplay: A Psychological Study by Hugo Munsterberg (1916), the dominant problem still confronting film theorists is that of a fragmented approach and apparent inability to relate observed relationships into a unified theory. Technological developments are already superceding what theory has been formulated, which, if it is to continue to be relevant, involves a re-definition of film to incorporate new visual communication technologies such as video images, computer movies and electro-videographic abstractions. During the 1970s film theorists looked to semiology to assist in the construction of a language of film as existing theories were found to be limited in their explanatory capacities. The result was an academic logjam which continues to confuse semiotics with semiology by assuming that the two paradigms are similar and can be applied without thought to their differing bases of derivation. SocialSemiotics Semiotics, Semiology and Film Author: Keyan Tomaselli Place: Bloemfontein Date: 1981 Published: Communicare, 1981:2 (1), 42-61 Copyright: Keyan Tomaselli: Drawn from Tomaselli’s MA thesis: ‘Semiotics of film: an investigation of some of language on film’. University of the Wiwatersrand, Johannesnburg, 1980 Abstract Semiotics and semiology are quite different paradigms stemming from different origins. This paper demonstrates the differences and developes C.S. Peirce's notions of Phaneroscopy, Firstness, Secondness and Thirdness, explores his notion of Interpretants and applies these to the study of film. Peirce's theory is shown to be much more adaptable than the semiology developed by Metz from de Saussure's linguistic concepts. Whereas Metz's theory of signs can only take account of narrative cinema, the extention of Peirce's theory proposed here is able to account for all types of cinema from narrative to abstract. In more than six decades of research since the appearence of the first comprehensive film study, The Photoplay: A Psychological Study by Hugo Munsterberg (1916), the dominant problem still confronting film theorists is that of a fragmented approach and apparent inability to relate observed relationships into a unified theory. Technological developments are already superceding what theory has been formulated, which, if it is to continue to be relevant, involves a re-definition of film to incorporate new visual communication technologies such as video images, computer movies and electro-videographic abstractions. During the 1970s film theorists looked to semiology to assist in the construction of a language of film as existing theories were found to be limited in their explanatory capacities. The result was an academic logjam which continues to confuse semiotics with semiology by assuming that the two paradigms are similar and can be applied without thought to their differing bases of derivation. Objectives This paper will (1) examine the origins of serniology and semiotics and define each in terms of their generic differences; (2) explain the basic principles of C.S. Peirce's notion of semiotics; and (3) extend his concept of the role and function of the scientist to include that of the artist. A second part will compare the application of these two paradigms with respect to the film and demonstrate the greater flexibility and universality of the Peirceian system over de Saussure's linguistically based formulation. The theories of semiotics and semiology deal with the connection between meaning, experience and signification.
Approximate Word count = 2458
Approximate Pages = 9.8
(250 words per page double spaced)
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