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/lp/mit-press/dance-and-fetish-phenomenology-and-metz-s-epistemological-shift-DOSBaM0Nt6
References (3)
- Publisher
- MIT Press
- Copyright
- © 2014 October Magazine, Ltd. and Massachusetts Institute of Technology
- ISSN
- 0162-2870
- eISSN
- 1536-013X
- DOI
- 10.1162/OCTO_a_00177
- Publisher site
- See Article on Publisher Site
Abstract
Christian Metz is remembered today as having almost single-handedly transformed the culture of film studies. This widely held view was summarized by one commentator, who wrote that “with Metz a new research paradigm is born, as well as a new generation of scholars. The ontological theories are followed by methodological theories.” According to another, “Metz exemplified a new kind of film theorist, one who came to the field already ‘armed’ with the analytic instruments of a specific discipline, who was unapologetically academic and unconnected to the world of film criticism.” Of course, Metz didn't just surge like a meteor on the scene of film studies. His arrival was “prepared” by the filmologie movement spear-headed in Paris by Gilbert Cohen-Séat and by two early film semiology essays published by Roland Barthes in La Revue internationale de filmologie . Yet it is Metz who is rightly remembered as the figurehead of film semiology.
Journal
October – MIT Press
Published: May 1, 2014