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This work is to initiate a semiotic re-examination of
Chinese cinema. Such re-examination was built upon
the concepts of Semiotics as conceived of by Charles
Sanders Peirce. In addition, in constructing a
semiotic approach to aesthetic issues in general and
to cinema in particular, the author incorporated
aesthetic theories from American Pragmatism and
Kenneth Burke s concepts of poetic process. In
forming a semiotic approach specific to cinema, the
author relied primarily on Gilles Deleuze s cinematic
theories.
This book brings a Chinese perspective into dialectic
contact with Western thought, hoping at once to
enrich the scope of a general Semiotics of Cinema and
to initiate a semiotic analysis of Chinese Cinema.
This theorizing is to converse with scholars who are
interested in Semiotics in general and film Semiotics
in particular; furthermore, it should be especially
informative and useful to researchers of Chinese Cinema.
Chinese cinema. Such re-examination was built upon
the concepts of Semiotics as conceived of by Charles
Sanders Peirce. In addition, in constructing a
semiotic approach to aesthetic issues in general and
to cinema in particular, the author incorporated
aesthetic theories from American Pragmatism and
Kenneth Burke s concepts of poetic process. In
forming a semiotic approach specific to cinema, the
author relied primarily on Gilles Deleuze s cinematic
theories.
This book brings a Chinese perspective into dialectic
contact with Western thought, hoping at once to
enrich the scope of a general Semiotics of Cinema and
to initiate a semiotic analysis of Chinese Cinema.
This theorizing is to converse with scholars who are
interested in Semiotics in general and film Semiotics
in particular; furthermore, it should be especially
informative and useful to researchers of Chinese Cinema.