本站原创Contents3-6
Abstract6-8
摘要8-10
List of Figures10-11
List of Tables11-12
Chapter One Introduction12-17
1.1 Research Background12-13
1.2 Purposes and Significances13-14
1.3 Research Rationale14
1.4 Research Questions14-15
1.5 Data Collection and Selection15
1.6 Research Procedures15-17
Chapter Two Literature Review17-27
2.1 An Overview of Relation between Filmic Language and Semiotics17-20
2.1.1 Definition andDevelopment of Film17-18
2.1.2 Filmic Language18-19
2.1.3 An Overview of Semiotics19-20
2.2 Filmic Analysis Based on Semiotics20-22
2.2.1 A General View of Film Semiotics20-21
2.2.2 A General View of Social Semiotics21-22
2.3 Overview of Visual Grammar22-24
2.4 Previous Studies on Filmic Language24-26
2.4.1 Filmic Language Studies Abroad24
2.4.2 Filmic Language Studies at Home24-26
2.4.3 Limitations to Previous Studies26
2.5 Summary26-27
Chapter Three Theoretical Framework27-37
3.1 Saussure’s Semiotic Theory27-29
3.1.1 The Definition on Sign27-28
3.1.2 Saussure’s Theory on Semiotics28-29
3.2 Theory of Social Semiotics29-34
3.2.1 Filmic Language Analysis on the Basis of Social Semiotics30-31
3.2.2 Visual Semiotics31
3.2.3 Visual Symbols in VG31-34
3.3 Theories of Visual-Verbal Learning34-36
3.4 Summary36-37
Chapter Four Cases Study of Filmic Language37-59
4.1 Meaning Generation Analysis of the Visual Symbols37-47
4.1.1 Symbols of Close-up Shot37-39
4.1.2 Symbols of Advancement39-40
4.1.3 Symbols of Shot Changing40-41
4.1.4 Symbols of Horizontal Angle and Vertical Angle41-43
4.1.5 Symbols of Modapty43-47
4.2 Integrated Analyses of Filmic Languages47-57
4.2.1 A Shot from The Day After Tomorrow47-53
4.2.2 A Shot from Super Typhoon53-57
4.3 Summary57-59
Chapter Five Conclusion59-62
5.1 A General Conclusion of the Thesis59-60
5.2 The Major Findings of the Thesis60
5.3 Limitations of Present Study60-61
5.4 Suggestions for Further Study61-62
References62-67
Appendix67-70
Acknowledgements70