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HVsemiot.rtf
This 4 page paper analyzes two films, “Potemkin” and “The Man with a Movie Camera” using semiotic methods. Bibliography lists 3 sources.
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4 pages (~225 words per page)
File: D0_HVsemiot.rtf
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Unformatted sample text from the term paper:
classic films, The Man with a Movie Camera and Potemkin. Discussion We are asked to consider the "signifier and signified," which comprise the first sign, and an additional signified, which
taken together form the connotation, and apply it to the question of socio-cultural values in The Man with a Movie Camera. The first thing to make clear is what is
meant by signifier and signified, and the easiest way is probably to use an example. A signifier is a term that stands for something: a "car" is a signifier," so
is a "cat" or a "tree" (Introductory models & basic concepts: semiotics). While the term is understandable to everyone (we all know what a tree is), each person will have
a different mental picture of "tree" depending on their experience (Introductory models & basic concepts: semiotics). Together the original term and ones experience of it make up the first sign;
another signified is added to make up a connotation. Its been noted that using semiotics to analyze visual works has led to some confusion, with terms like "reading a
film" coming into current usage (Introductory models & basic concepts: semiotics). But this is precisely whats happening: we look for things within the film that we can interpret as a
sign, with another signified added to it. It is thus a triple layer of meaning: the object itself, what it means to us, and (perhaps) what it means to the
director. The director of the film, Dziga Vertov, is a prime candidate for semiotic evaluation, since it was his aim to "create cinema that had its own rhythm, one lifted
from nowhere else, and we find it in the movements of things" (Tracey). It is a film in which the imagery is extraordinarily rich, and can be used to tell
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