. "\u0421\u0435\u043C\u0438\u043E\u0442\u0438\u043A\u0430 \u043A\u0438\u043D\u043E \u2014 \u044D\u0442\u043E \u043E\u0442\u0432\u0435\u0442\u0432\u043B\u0435\u043D\u0438\u0435 \u0441\u0435\u043C\u0438\u043E\u0442\u0438\u043A\u0438, \u0437\u0430\u043D\u0438\u043C\u0430\u044E\u0449\u0435\u0435\u0441\u044F \u0438\u0437\u0443\u0447\u0435\u043D\u0438\u0435\u043C \u0437\u043D\u0430\u043A\u043E\u0432 \u0432 \u0442\u043E\u043C \u0432\u0438\u0434\u0435, \u0432 \u043A\u043E\u0442\u043E\u0440\u043E\u043C \u043E\u043D\u0438 \u0441\u0432\u043E\u0439\u0441\u0442\u0432\u0435\u043D\u043D\u044B \u043A\u0438\u043D\u043E\u0438\u0441\u043A\u0443\u0441\u0441\u0442\u0432\u0443 \u043D\u0430 \u0440\u0430\u0437\u043D\u044B\u0445 \u0435\u0433\u043E \u0443\u0440\u043E\u0432\u043D\u044F\u0445."@ru . "La semi\u00F3tica en el cine es el estudio de los signos del cine en diferentes niveles y variedades."@es . . . . . "Semiotica del cinema"@it . . "Semi\u00F3tica cinematogr\u00E1fica"@pt . "Film semiotics is the study of sign process (semiosis), or any form of activity, conduct, or any process that involves signs, including the production of meaning, as these signs pertain to moving pictures. Every artform has some hidden symbols in it which are left to the audience to make meanings through it."@en . . "A semi\u00F3tica cinematogr\u00E1fica \u00E9 o estudo dos processos de significa\u00E7\u00E3o \u2014 semiose \u2014 ou qualquer outra forma de produ\u00E7\u00E3o s\u00EDgnica elaborados por meio de imagens em movimento. Este ramo une teorias do cinema, da semi\u00F3tica e da lingu\u00EDstica para analisar como o sentido \u00E9 constru\u00EDdo nos filmes, seja na narrativa ou na manipula\u00E7\u00E3o de outros recursos audiovisuais, como mixagem de som, dire\u00E7\u00E3o de arte e fotografia. Faz-se, portanto, di\u00E1logos recorrentes com a est\u00E9tica da recep\u00E7\u00E3o e com a constru\u00E7\u00E3o da mise-en-sc\u00E8ne, que analisa como signos articulam-se entre si em textos cinematogr\u00E1ficos."@pt . . . . "Semi\u00F3tica en el cine"@es . . . . . . . . . . . . . "\u0421\u0435\u043C\u0438\u043E\u0442\u0438\u043A\u0430 \u043A\u0438\u043D\u043E \u2014 \u044D\u0442\u043E \u043E\u0442\u0432\u0435\u0442\u0432\u043B\u0435\u043D\u0438\u0435 \u0441\u0435\u043C\u0438\u043E\u0442\u0438\u043A\u0438, \u0437\u0430\u043D\u0438\u043C\u0430\u044E\u0449\u0435\u0435\u0441\u044F \u0438\u0437\u0443\u0447\u0435\u043D\u0438\u0435\u043C \u0437\u043D\u0430\u043A\u043E\u0432 \u0432 \u0442\u043E\u043C \u0432\u0438\u0434\u0435, \u0432 \u043A\u043E\u0442\u043E\u0440\u043E\u043C \u043E\u043D\u0438 \u0441\u0432\u043E\u0439\u0441\u0442\u0432\u0435\u043D\u043D\u044B \u043A\u0438\u043D\u043E\u0438\u0441\u043A\u0443\u0441\u0441\u0442\u0432\u0443 \u043D\u0430 \u0440\u0430\u0437\u043D\u044B\u0445 \u0435\u0433\u043E \u0443\u0440\u043E\u0432\u043D\u044F\u0445."@ru . . . . "39356584"^^ . . . . . . "La semiotica del cinema \u00E8 una branca della semiotica che studia il linguaggio cinematografico. Quest'ultimo permette combinazioni altamente dialettiche poich\u00E9 utilizza una molteplicit\u00E0 di codici creandone nello stesso tempo di specificatamente cinematografici. La scala delle immagini sullo schermo, la velocit\u00E0 di ripresa, la natura e la direzione dell'illuminazione, il sistema del colore o dei modelli grafici sono le caratteristiche distintive di tali codici."@it . . "A semi\u00F3tica cinematogr\u00E1fica \u00E9 o estudo dos processos de significa\u00E7\u00E3o \u2014 semiose \u2014 ou qualquer outra forma de produ\u00E7\u00E3o s\u00EDgnica elaborados por meio de imagens em movimento. Este ramo une teorias do cinema, da semi\u00F3tica e da lingu\u00EDstica para analisar como o sentido \u00E9 constru\u00EDdo nos filmes, seja na narrativa ou na manipula\u00E7\u00E3o de outros recursos audiovisuais, como mixagem de som, dire\u00E7\u00E3o de arte e fotografia. Faz-se, portanto, di\u00E1logos recorrentes com a est\u00E9tica da recep\u00E7\u00E3o e com a constru\u00E7\u00E3o da mise-en-sc\u00E8ne, que analisa como signos articulam-se entre si em textos cinematogr\u00E1ficos. Alguns te\u00F3ricos do cinema, como Ricciotto Canudo, Louis Delluc e B\u00E9la Bal\u00E1zs, ainda na primeira metade do s\u00E9culo XX, fazem alus\u00E3o ao cinema como linguagem, entendendo-o como um forma lingu\u00EDstica. Pesquisadores do formalismo russo, como Yuri Tynianov e Boris Eikhenbaum, ampliam a aproxima\u00E7\u00E3o entre esse pensamento a partir da no\u00E7\u00E3o de constru\u00E7\u00E3o sintagm\u00E1tica: o filme constru\u00EDdo a partir de uma sintaxe, disposi\u00E7\u00E3o ordenada de signos. A semi\u00F3tica cinematogr\u00E1fica consolida-se, por fim, com o paradigma p\u00F3s-estruturalista, em especial os trabalhos de Umberto Eco, Christian Metz, Roland Barthes, Pier Paolo Pasolini e Gilles Deleuze."@pt . . "La semi\u00F3tica en el cine es el estudio de los signos del cine en diferentes niveles y variedades."@es . . . . "\u0421\u0435\u043C\u0456\u043E\u0442\u0438\u043A\u0430 \u043A\u0456\u043D\u043E"@uk . . . . "11151"^^ . . . . . "\u0421\u0435\u043C\u0456\u043E\u0442\u0438\u043A\u0430 \u043A\u0456\u043D\u043E - \u0446\u0435 \u0432\u0456\u0434\u0433\u0430\u043B\u0443\u0436\u0435\u043D\u043D\u044F \u0441\u0435\u043C\u0456\u043E\u0442\u0438\u043A\u0438, \u0449\u043E \u0437\u0430\u0439\u043C\u0430\u0454\u0442\u044C\u0441\u044F \u0432\u0438\u0432\u0447\u0435\u043D\u043D\u044F\u043C \u0437\u043D\u0430\u043A\u0456\u0432 \u043A\u0456\u043D\u043E\u043C\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u0430."@uk . . . . "Film semiotics is the study of sign process (semiosis), or any form of activity, conduct, or any process that involves signs, including the production of meaning, as these signs pertain to moving pictures. Every artform has some hidden symbols in it which are left to the audience to make meanings through it."@en . . "1057384223"^^ . "La semiotica del cinema \u00E8 una branca della semiotica che studia il linguaggio cinematografico. Quest'ultimo permette combinazioni altamente dialettiche poich\u00E9 utilizza una molteplicit\u00E0 di codici creandone nello stesso tempo di specificatamente cinematografici. La scala delle immagini sullo schermo, la velocit\u00E0 di ripresa, la natura e la direzione dell'illuminazione, il sistema del colore o dei modelli grafici sono le caratteristiche distintive di tali codici."@it . . . . "Film semiotics"@en . "\u0421\u0435\u043C\u0456\u043E\u0442\u0438\u043A\u0430 \u043A\u0456\u043D\u043E - \u0446\u0435 \u0432\u0456\u0434\u0433\u0430\u043B\u0443\u0436\u0435\u043D\u043D\u044F \u0441\u0435\u043C\u0456\u043E\u0442\u0438\u043A\u0438, \u0449\u043E \u0437\u0430\u0439\u043C\u0430\u0454\u0442\u044C\u0441\u044F \u0432\u0438\u0432\u0447\u0435\u043D\u043D\u044F\u043C \u0437\u043D\u0430\u043A\u0456\u0432 \u043A\u0456\u043D\u043E\u043C\u0438\u0441\u0442\u0435\u0446\u0442\u0432\u0430."@uk . "\u0421\u0435\u043C\u0438\u043E\u0442\u0438\u043A\u0430 \u043A\u0438\u043D\u043E"@ru . . . .