9. Christian Metz, Editing, and Forms of Alternation1

Chapters in this book

1. Frontmatter 1
2. Table of Contents 5
3. Acknowledgments 9
4. Editorial Note 11
5. 1. Christian Metz and Film Semiology 15
6. I. Metz and the Tradition of Film Theory
7. 2. Two Ways of Thinking 69
8. 3. Christian Metz and his Theoretical Legacy 83
9. 4. Christian Metz for Today 91
10. 5. Thinking Cinema 115
11. 6. Barthes’ Early Film Semiology and the Legacy of Filmology in Metz 127
12. II. Questions of Form and Aesthetics
13. 7. Christian Metz and Aesthetics 147
14. 8. Christian Metz and Modern Cinema 185
15. 9. Christian Metz, Editing, and Forms of Alternation1 201
16. III. Specificities of the Cinematic Code and the Imaginary
17. 10. Between Classical and Postclassical Theory 227
18. 11. Cyber-Metz? 251
19. 12. Yes, the Image Lies Beyond Analogy 273
20. 13. The Cinematic Signifier and the Imaginary 285
21. 14. Fetishism and Scepticism , or the Two Worlds of Christian Metz and Stanley Cavell 301
22. IV. Narration, Enunciation, Cinephilia
23. 15. Cinema: Image or Narrative? 327
24. 16. Semiotics, Science, and Cinephilia 351
25. 17. ‘“Theorize”, he says… ’ 369
26. 18. Personal Enunciation: Presences of Absences 391
27. 19. Metz with Deleuze 415
28. Two Interviews with Christian Metz
29. 20. Thirty Years After 435
30. 21. The Semiology of Cinema? It Is Necessary to Continue! 439
31. 22. Flashback to Winter 1990 455
32. 23. ‘I Never Expected Semiology to Thrill the Masses’ 459
33. Postscript
34. Conclusion 475
35. Index – Names 477
36. Index – Film Titles 483