Joseph Kosuth One and Three Chairs 1965

1
What are semiotics? A trip down memory lane.
I saw the sign/signs and it opened up my eyes I
saw the sign. La la la

• Joseph Kosuth One and Three Chairs (1965)

2
(some of the finer points)

• Semantics Relation between signs and the things
  they refer to, their denotata.
  
• Syntactics Relation of signs to each other in
  formal structures.
  
• Pragmatics Relation of signs to their impacts on
  those who use them. (Also known as General
  Semantics)
  

3
..and what is metaphor? What is a metonym?

• Sweet wheels!

4
Further Applications So what constitutes the
semiotics of cinema? Hint. Its in the reading.

Just looking at him you can tell hes smart.
What does it all mean?
Yuri (Jurij) Lotman
5
Reading part II, from semiotics of cinema to
Eisensteins theory of Montage
Hard at work
6
What are Dialectics?

• Essentially the idea that the process of the
  arguing (argument can mean many things here
  including textual, and now as Eisenstein begins
  develop, media arguments) may result in more than
  the refutation of one point over another, but can
  result in the generation of "synthesis" of new
  ideas and dialogs.

7
Continuity Editing, and other things that dont
interest Eisenstien.
8
Methods of Montage1

• 1. Metric - based solely on timing. Pays no
  attention to what is happening in the simplest
  form of montage the most base emotional
  reactions
• Rhythmic - Concerned with timing but also takes
  into account the visual composition and varies
  the speed of the cuts
  
• Tonal - Based on the emotional weight of the
  shots
  
• Overtonal/Associational - A combination of
  Metric, Rhythmic and Tonal cuts that elicit
  sublet and complex emotional response from the
  audience.
• Intellectual - Uses shot juxtaposition of images
  to draw metaphorical relationships between shots

9
The Battleship Potemkin
10
The surrealists, cinema and theaters of cruelty

• The Theatre of Cruelty has been created in order
  to restore to the theatre a passionate and
  convulsive conception of life, and it is in this
  sense of violent rigour and extreme condensation
  of scenic elements that the cruelty on which it
  is based must be understood. This cruelty, which
  will be bloody when necessary but not
  systematically so, can thus be identified with a
  kind of severe moral purity which is not afraid
  to pay life the price it must be paid. -
  Antonin Artaud

11
Pure cinema and the Clergyman
12
Nam June PaikGlobal Groove
13
Technology/Transformation Wonder Woman (1978)
Dara Birnbaum