Semiotics of Cinema
Abstract
The purpose of work is analyze the historical and cultural factors of the formation of the cinematic language, the origin, evolution and the disclosure of the Semiotic concept of cinema. The methodology of the research is to apply the general scientific principle of objectivity, cultural, structural and functional and analytical methods in the analysis of theoretical works of art and works of screen art (films), the subject field of which relates to the disclosure of the principles and nature of the film language and the semiotic concept in cinema. The scientific novelty of the work consists in an integrated approach to the concepts of cinema and cinema semiotics as objects of humanitarian research and cultural understanding of the phenomenon of cinematography in the context of trends in the development of screen arts. Conclusions. It is necessary to use a complex approach in the semiotic analysis of the work of cinema-television art. K. Metz noted that cinema is speech without language, therefore it is impossible to use in cinema the principles used to any other kind of art: in cinema the signs of denotations and connotations fundamentally differ in their dynamic natural. Semiotics does not have ready-made solutions or rules for creating signs and codes in a motion picture, because, like every person on the planet, it is dynamic and zmilyuetsya every day with the development of mankind. For some it may seem a disadvantage, but semiotics can give direction - a ray that can greet the viewer to the desired interpretation. This science studies the principles of communication between the viewer and the screen.
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