Christian Metz is best known for applying Saussurean theories of
semiology to film analysis. In the 1970s, he used Sigmund Freud's
psychology and Jacques Lacan's mirror theory to explain the
popularity of cinema. In this final book, Metz uses the concept of
enunciation to articulate how films "speak" and explore where this
communication occurs, offering critical direction for theorists who
struggle with the phenomena of new media. If a film frame contains
another frame, which frame do we emphasize? And should we consider
this staging an impersonal act of enunciation? Consulting a range
of genres and national trends, Metz builds a novel theory around
the placement and subjectivity of screens within screens, which
pulls in-and forces him to reassess-his work on authorship, film
language, and the position of the spectator. Metz again takes up
the linguistic and theoretical work of Benveniste, Genette,
Casetti, and Bordwell, drawing surprising conclusions that presage
current writings on digital media. Metz's analysis enriches work on
cybernetic emergence, self-assembly, self-reference, hypertext, and
texts that self-produce in such a way that the human element
disappears. A critical introduction by Cormac Deane bolsters the
connection between Metz's findings and nascent digital-media
theory, emphasizing Metz's keen awareness of the methodological and
philosophical concerns we wrestle with today.
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