This book presents a new basis for the empirical analysis of
film. Starting from an established body of work in film theory, the
authors show how a close incorporation of the current state of the
art in multimodal theory, including accounts of the syntagmatic and
paradigmatic axes of organisation, discourse semantics and advanced
layout structure, provides a methodology by which concrete details
of film sequences drive mechanisms for constructing filmic
discourse structures. The book introduces the necessary background,
the open questions raised, and the method by which analysis can
proceed step-by-step with extensive examples drawn from a broad
range of films. The book aims to provide an analytic tool set that
will enable the reader to approach the study of film organisation
with new levels of detail, probing deeply into the fundamental
question of film as to just how it is that films reliably
communicate meaning.
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