Abstract
A structural analysis of film can make good on the traditional “film is language” metaphor in several ways. As a linguistic grammar formally partitions the world into sentential and nonsentential objects, a structural theory of film partitions the world into those objects that are narrative film scenes and those that are not. Additionally, it is argued, such an analysis offers substantive foundation for descriptions of structural relations between film scenes, the organization of film perception, the film as an aspect of human symbolic capacity, and of film aesthetics.
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