Spaces of Communication Elements of Semio-Pragmatics Author: Roger Odin pdf book download

Book: Spaces of Communication

Elements of Semio-Pragmatics

Author: Roger Odin.

(✍️ This article is collected from this book 📚 (All Credit To Go Real Hero The Author of this book 📖) 🙏 Please buy this book hardcopy from anyway.)

In This Book____________________________

Film Theory in Media History

Film Theory in Media History explores the epistemological and theoretical 

foundations of the study of film through texts by classical authors as well as 

anthologies and monographs on key issues and developments in film theory. 

Adopting a historical perspective, but with a firm eye to the further development 

of the field, the series provides a platform for ground-breaking new research into 

film theory and media history and features high-profile editorial projects that 

offer resources for teaching and scholarship. Combining the book form with 

open access online publishing the series reaches the broadest possible audience 

of scholars, students, and other readers with a passion for film and theory.

Series editors________________

Prof. Dr. Vinzenz Hediger, Goethe University Frankfurt, Germany

Weihong Bao, University of California, Berkeley, United States

Dr. Trond Lundemo, Stockholm University, Sweden

Editorial Board Members

Dudley Andrew, Yale University, United States

Raymond Bellour, CNRS Paris, France

Chris Berry, Goldsmiths, University of London, United Kingdom

Francesco Casetti, Yale University, United States

Thomas Elsaesser, University of Amsterdam, the Netherlands

Jane Gaines, Columbia University, United States

Andre Gaudreault, University of Montreal, Canada

Gertrud Koch, Free University of Berlin, Germany

John MacKay, Yale University, United States

Markus Nornes, University of Michigan, United States

Patricia Pisters, University of Amsterdam, the Netherlands

Leonardo Quaresima, University of Udine, Italy

David Rodowick, University of Chicago, United States

Philip Rosen, Brown University, United States

Petr Szczepanik, Masaryk University Brno, Czech Republic

Brian Winston, Lincoln University, United Kingdom

Film Theory in Media History is published in cooperation with the Permanent 

Seminar for the History of Film Theories.

Establishing a Discipline, Cultivating a Field: Roger Odin and 

Film Studies in France

Born in 1939, Roger Odin belongs to the generation of film scholars who 

grew up in and were formed by the culture and atmosphere of post-war 

cinephilia.15 A linguist by training, a film club activist and a consummate 

amateur filmmaker, Odin became the first film scholar to ascend to a full 

professorship in cinema studies in a French university when he moved to 

Paris 3-Sorbonne Nouvelle from Saint-Étienne in 1983.

Film scholars had, of course, worked in French research institutions 

before. Christian Metz held a position in the École des Hautes Études en 

Sciences Sociales, a research institution in Paris which includes disciplines 

ranging from history to anthropology and economics, and which has also 

been the home of scholars such as Claude Lévi-Strauss, Pierre Nora, Jacques 

Derrida or, more recently, Thomas Piketty. 

Raymond Bellour had joined 

the Centre National de la Recherche Scientifique, another non-university 

“grand établissement,” at the invitation of Edgar Morin in 1964. Marie-Claire 

Ropars-Wuilleumier created a department of cinema from within French 

literature at the experimental university of Paris-Vincennes in the early 

1970s, an important step towards film studies as a discipline. In Spaces of 

Communication, Roger Odin pays tribute to her work with a subchapter 

dedicated to a re-reading of Ropars-Wuilleumier’s pioneering publications 

of that time. Furthermore, historians like Pierre Sorlin, Michèle Lagny or 

Marc Ferro focused their research on cinema from their respective positions 

in sociology and history departments.

But the department of cinema and audiovisual media at Paris-3 was to 

become the first proper film studies department in a French university. Odin 

moved quickly to expand the department with chairs in film aesthetics for 

former Cahiers critic Jacques Aumont and in film history for Michel Marie, 

who had written his dissertation under Ropars-Wuilleumier’s and Metz’s 

supervision and joined Paris-3 as a maître de conference (assistant professor) 

for cinema in 1974. Together with Aumont and Marie, Odin continued 

to expand the scope and size of the department during his twenty-year 

15 Antoine de Baecque, La cinéphilie. Invention d’un regard, histoire d’une culture, 1944-1968

(Paris: Pluriel, 2013).

tenure as its director, to the point where the department is now the largest 

of its kind in the world in terms of full professor positions, including one 

exclusively dedicated to the study of the economics of cinema currently 

held by Laurent Creton.

Odin was also instrumental in the creation of a doctorate in film stud-

ies at the national level. Decisions concerning the shape and structure of 

academic disciplines in France are in the hands of the national ministry 

of tertiary education and research rather than in the hands of individual 

universities. The doctorate as granted by the ministry is the birth certificate 

of a discipline. Roger Odin led a committee which developed a curriculum 

in cinema studies comprised of optional courses in secondary education, as 

well as undergraduate, graduate and doctoral degrees at the tertiary level. 

Following the committee’s

recommendation, the ministry created film 

studies doctorate in the early 1990s.16 This emancipated cinema studies 

from the neighbouring disciplines of literature, art history and history 

and secured its place among established subjects for tertiary education 

and research. It granted a license to universities across France to institute 

doctoral programs and departments in cinema studies. In quick succession, 

with Lyon-2, Rennes, Bordeaux and Montpellier among others emerging as 

new centers of film studies from the 1990s onwards.

Throughout his tenure at Paris-3 and beyond, Roger Odin has always 

insisted that he considered cinema studies to be a field rather than a dis-

cipline. This is an important distinction both in the light of the history of 

cinema studies in France and with a view to its development in a broader 

perspective. It is also a distinction which helps us understand how Odin’s 

work as a theorist intersects with his work as an institution builder.

One of the countries that lay claim to the invention of cinema, France 

has always had a uniquely vibrant film culture. It was built and fostered by 

institutions such as the ciné-club movement, which started in the 1920s and 

in which Roger Odin actively participated as a programmer and presenter 

during his years in Saint-Étienne. It was also built around institutions like 

the Cinémathèque française, which Henri Langlois established in the early 

1930s just as film archives sprung up around the world as salvage institutions 

for film history in the wake of the

 introduction of sound. French film culture 

was further sustained by a film criticism striving to elevate film to equality 

with the other arts, an effort best exemplified by the work of André Bazin 

16 Roger Odin, “Zur Etablierung der Filmbildung in Frankreich – Ein Erfahrungsbericht,” in: 

Malte Hagener, Vinzenz Hediger (eds.) Medienkultur und Bildung. Ästhetische Erziehung im 

Zeitalter digitaler Netzwerke (Frankfurt: Campus 2015), pp. 295–312.

A Democrac y of Readings and Objects 19

and the Cahiers du cinéma in the 1950s. Since the 1920s, the operative concept 

which brought all facets of French cinema culture together had been the 

notion of the director as auteur. First introduced to distinguish French 

films from the American competition in the 1920s, it became a selection 

criterion that served to distinguish art from mere merchandise and build 

canons of significant works in a global perspective from the 1930s onwards.

However, the first attempt to establish film studies in France had little 

to do with cinephilia or auteurism. The Filmology movement of the 1940s 

and 1950s was organized by producer/philosopher Gilbert Cohen-Séat at 

the Sorbonne, with help from Étienne Souriau, an eminent philosopher 

and France’s foremost aesthetic theorist at the time, and Henri Wallon, 

a 

leading developmental psychologist who first described the mirror stage, 

which later made the fame of Jacques Lacan.17 As a top-down effort to study 

and control the social effects of cinema in the wake of the Second World 

War, Filmology initially met with scorn from cinephiles. A young Jean-Luc 

Godard signed up to quell the concerns of his Swiss bourgeois parents 

about his lack of interest in academic study, but he appears to never have 

attended classes. In 1951, André Bazin published a fierce polemic against 

the “filmologues” and their ignorance of cinema in the Cahiers under the 

pseudonym of Florent Kirsch (combining the first name of his son and the 

maiden name of his wife).18 The controversy petered out towards the end 

of the 1950s, when Filmology shifted its focus to television and eventually 

morphed into mass communication effects research in France and Italy.

When film studies finally found its place in the French university system 

in the 1980s the cinephile canon constituted the core of the curriculum. 

Universities are conservative institutions. Once a plausible claim could 

be made that cinema had produced a body of work equivalent to that of 

national literatures – a claim which the Cahiers critics had established and 

which Stanley Cavell strategically repeated in 1971, when he wrote in the 

Introduction to The World Viewed that classical Hollywood cinema had 

brought forth more masterpieces than the Elizabethan period in literature19

– chances improved for cinema studies’ acceptance as a discipline. Absent 

17 Edmund Lowry, The Filmology Movement and Film Studies in France (Ann Arbor: UMI Press 

1985); François Albéra, Martin Lefebvre (eds.) La filmologie, de nouveau, double issue of CINéMAS: 

Revue d’études cinématographiques/Journal of Film Studies, 19/2-3 (spring 2009); Vinzenz Hediger, 

Guido Kirsten (eds.) Filmologie (Amsterdam: Amsterdam University Press, forthcoming).

18 Florent Kirsch [André Bazin], “Introduction à une filmologie de la filmologie,” in: Cahiers 

du cinéma, 5 (1951), pp. 33–38.

19 Stanley Cavell, The World Viewed: Reflections on the Ontology of Film (Cambridge, MA: 

Harvard University Press, 1971)

___________________Tag____________________

Film Theory and Criticism 7th edition Free PDF

Film and Theory: an anthology PDF

The Oxford guide to film studies PDF download

Film Theory and Criticism: introductory readings PDF

Film: Psychology, Society, and Ideology

Mulvey Laura Visual Pleasure and Narrative Cinema

searches

film theory and criticism 7th edition free pdf

film and theory: an anthology pdf

the oxford guide to film studies pdf download

film theory and criticism: introductory readings pdf

film: psychology, society, and ideology

mulvey laura visual pleasure and narrative cinema

film theory and criticism 8th edition

film theory and criticism: introductory readings 8th edition ebook