A Study On The Film Ideographic Mechanism From Two Semiotic Perspectives

Semiotics of Film was created when Structural Linguistics gradually became popular in academic circles in 1960 s.As the founder of Film Semiotics,Christian Metz,conducted research on the language of film based on the Saussurean structuralism and advanced the study of film language to a purely theoretical stage.Another important representative of film semiotics,Eco,constructed his film semiotics based on the theoretical foundation of Pierce,an American pragmatist philosopher.Metz’s film semiotics,due to its closure and static nature,reached a dead end.Therefore,he introduced psychoanalytic theory into the film semiotics and started the second film semiotics research based on the psychological mechanism of watching movies,which led to different branches in film semiotics.This paper will take the first film semiotics as the research starting point,and after briefly outlining its development,it will provide theoretical interpretation of the two major theoretical systems in the first film semiotics-Metz’s film semiotics and Eco’s film semiotics,and analyze the triple segmentation model of syntagm and code.Based on this,the paper will conduct an applied analysis of the semiotic mechanism of these two film models using film texts as the object of study.For example,it will analyze the semiotic mechanism of the narrative combination model in the film "The Godfather" and the semiotic mechanism of the triple segmentation model of symbols in Edward Yang’s "Terrorizers",in order to clarify the operational mechanism of the two symbol models.Although Metz and Eco are both important representatives of the first film semiotics,they have taken different paths in their research on film semiotics,and their film semiotic models have both impacted the meaning of film.Therefore,after analyzing the semiotic mechanism of these two film models,the paper will conduct a horizontal comparative analysis of the two different symbol meaning mechanisms of Metz and Eco,mainly analyzing the basic discrete units,organizational structure,and meaning modes of the two models.The intention of the comparison and analysis is not to highlight which model has more meaningful advantages,but to identify their respective characteristics,and to find their potential development trends and improvement mechanisms.Finally,the paper will explain the development of film semiotics from the perspective of post-theory.Firstly,it will analyze the relationship between the film semiotic model and the cognitive structure to explore the cognitive structure of the deep system in film.Meanwhile,the development of digital technology has had a certain impact on traditional film grammar.Against this backdrop,film semiotics needs to be combined with cognitive methods to explore the deep semiotic system of film,and to promote the more scientific development of film semiotics.This has important guiding significance for the film industry.