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The book delves into the intersection of cognitive science and film theory, particularly through the lens of cognitive film semiotics, an underexplored area. It critiques the existing divide between cognitive and contemporary film theories, engaging with key theorists like Michel Colin and Roger Odin. By analyzing concepts such as cognitive semantics and film syntax, it revisits the film semiotics of the 1960s and critiques the limitations of American cognitive film theory, while also questioning the shift towards 'post-theory' in film studies.
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