Abstract
This chapter aims to introduce readers to the semiological film theory of Christian Metz. First, it presents the premises of film semiology and gives a broad outline of its three phases, in which Metz confronts cinema with concepts from linguistics, psychoanalysis, and the notion of enunciation. The accent is then put on Metz’s initial meta-theoretical gesture and on the methodical self-reflection that characterizes his writing throughout. The final section considers the edges of his ‘model’ and shows how its underlying conditions function as prerequisites for the ‘cinematic institution’ that Metz is interested in.
Tröhler, Margrit