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'-builds 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. Extensive examples are given from a broad
range of films. With this new analytic tool set, the reader will
approach the study of film organisation with new levels of detail
and probe more deeply into the fundamental question of the
discipline: just how is it that films reliably communicate meaning?
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