Film Alienation In Literature

This chapter is targeted at providing a comprehensive review of the literature which deals with film semiotics and the concept of alienation in films. At the outset it should be noted there is a scarcity of literature pertaining to semiological studies on the concept of alienation, especially in the Indian context. The researcher has organized the literature review on two broader areas of study, which includes semiological studies in films, and the concept of alienation in films. Significant studies given in the following pages may help to understand the severity and the need for the present study. Some of the studies which were felt relevant to the present study are cited here.

Arthur Asa Berger’s work titled Media Analysis Techniques offers

He examined and developed a neglected branch of film theory, the work of 'cognitive film semiotics ', that merges the insights of cognitive science with those of linguistics and semiotics. The work investigates Michel Colin 's cognitive semantic theory of film. The same is considered within the framework of Noam Chomsky 's transformational generative grammar. The so called investigation has done on Roger Odin 's cognitive-pragmatic film theory; Francesco Casetti and Christian Metz 's theories of film enunciation; and Michel Colin and Dominique Chateau 's cognitive studies of film syntax. The Cognitive Semiotics of Film presents a critique of cognitive film semiotics, which re-hashes the film semiotics of the 1960s, and gives much stress on the decrepitude of American cognitive film theory, and impugns the move toward 'post-theory ' in film studies. Through this work the researcher has got a comparative and evolutionary understanding of studies happening in film studies

Vivian Carol Sobchack in The Address of the Eye: A Phenomenology of Film Experience, investigates basic implications of current film theory that limits film to an objective vision and to a passive reader of a deterministic cinematic apparatus. The work also states that these grounds ignore the material and cultural-historical codes of the spectator and the film. Furthermore, the spectator and the film are highlighted more as the cinematic experience relies upon two “viewers”, i.e., viewing: the spectator and the film, and each existing as both subject and object of vision. Sobchack also explains how the filmic experience provides pragmatic insight into the reversible, dialectical, and implying nature of that in material form of vision of daily live as both "mine" and "another 's” by focusing on existential and semiotic phenomenology and predominantly on the work of Merleau-Ponty. Moreover, the book also provides concerns about the likelihood of human choice and freedom within the limits of history and culture as a part of the endeavor to account for cinematic intelligibility and implication (Sobchack, 1992).

Felicity Colman through Deleuze and Cinema: The Film Concepts, shares a surprising new way of assimilating the intricacies of the moving image, its technical concerns and constraints as well as its psychological and political outcomes. Deleuze and Cinema offers a guide to the key concepts behind Gilles Deleuze 's revolutionary theory of cinema. Deleuze 's