Beyond its 'literal' meaning (its denotation), a particular word may have connotations: for instance, sexual connotations. 'Is there any such thing as a single entendre?' quipped the comic actor Kenneth Williams (we all know that 'a thing is a phallic symbol if it's longer than it's wide', as the singer Melanie put it). In semiotics, denotation and connotation are terms describing the relationship between the signifier and its signified, and an analytic distinction is made between two types of signifieds: a denotative signified and a connotative signified. Meaning includes both denotation and connotation.

http://roozbehhormozi.persiangig.com/document/Semiotics_for_Beginners.pdf

Semiotics For Beginners

http://www.visuallanguagelab.com/P/NC_visualnarrative.pdf

Visual narrative structure.

Identifies the main methods of researching culture.
Demonstrates how theory can inform and enable the practice of research.
Explores the ways in which research practices and methods both produce and are produced by knowledge.
Looks at the implications of the 'cultural turn' for disciplines other than cultural studies.
The Practice of Cultural Studies will be an essential text for students of cultural studies and a useful guide to others studying culture in a range of disciplinary contexts across the humanities and social sciences.

The Practice of Cultural Studies

History of aesthetics Plato / Christopher Janaway -- Aristotle / Nickolas Pappas -- Medieval aesthetics / Joseph Margolis -- Empiricism: Hutcheson and Hume / James Shelley -- Kant / Donald W Crawford -- Hegel / Michael Inwood -- Idealism: Schopenhauer, Schiller and Schelling / Dale Jacquette -- Nietzsche / Ruben Berrios and Aaron Ridley -- Formalism / Noel Carroll -- Pragmatism: Dewey / Richard Shusterman -- Expressivism: Croce and Collingwood / Gordon Graham -- Heidegger / Thomas E Wartenberg -- Phenomenology: Merleau-Ponty and Sartre / Adrienne Dengerink Chaplin -- Sibley / Colin Lyas -- Goodman / Jenefer Robinson -- Foucault / Robert Wicks -- Postmodernism: Barthes and Derrida / David Novitz -- Aesthetic theory Definitions of art / Stephen Davies -- Ontology of art / Guy Rohrbaugh -- The aesthetic / Alan Goldman -- Taste / Carolyn Korsmeyer -- Aesthetic universals / Denis Dutton -- Value of art / Matthew Kieran -- Beauty / Jennifer A McMahon -- Interpretation / Robert Stecker -- Imagination and make-believe / Gregory Currie -- Fiction / David Davies -- Narrative / Paisley Livingston -- Metaphor / Garry L Hagberg -- Pictorial representation / Mark Rollins -- Issues and challenges Criticism / Roger Seamon -- Art and knowledge / Eileen John -- Art and ethics / Berys Gaut -- Art, expression and emotion / Derek Matravers -- Tragedy / Alex Neill -- Humor / Ted Cohen -- Creativity / Margaret A Boden -- Style / Aaron Meskin -- Authenticity in performance / James O Young -- Fakes and forgeries / Nan Stalnaker -- High art versus low art / John A Fisher -- Environmental aesthetics / Allen Carlson -- Feminist aesthetics / Karen Hanson -- The individual arts Literature / Peter Lamarque -- Theater / James R Hamilton -- Film / Murray Smith -- Photography / Patrick Maynard -- Painting / Dominic McIver Lopes -- Sculpture / Curtis L Carter -- Architecture / Edward Winters -- Music / Mark DeBellis -- Dance / Graham McFee

/pdf/the-routledge-companion-to-aesthetics-1q9t9msnqg.pdf

The Routledge Companion to Aesthetics

One of the earliest attempts to produce film theory, that of the French Impressionists in the 1920s, generated a concept—photogénie—which is usually considered to be theoretically incoherent. No doubt this is due to the fact that photogénie is designed to account for that which is inarticulable, that which exceeds language and hence points to the very essence of cinematic specificity. Photogénie names a supplementarity, an enhancement, that which is added to an object in the process of its subjection to a photographic medium. For Epstein, it is inextricably bound up with an ethics: “I would describe as photogenic any aspect of things, beings or souls whose moral character is enhanced by filmic reproduction” (Bonjour 20). The close-up is the privileged site for this experience of photogénie, and Epstein often labored to produce a language that would be adequate to this experience. Witness, for instance, the linguistic contortions in his description of the close-up of a face breaking into a smile:

The Close-Up: Scale and Detail in the Cinema

A pioneer in the field, Christian Metz applies insights of structural linguistics to the language of film. "The semiology of film . . . can be held to date from the publication in 1964 of the famous essay by Christian Metz, 'Le cinema: langue ou langage?'"-Geoffrey Nowell-Smith, "Times Literary Supplement" "Modern film theory begins with Metz."-Constance Penley, coeditor of "Camera Obscura" "Any consideration of semiology in relation to the particular field signifying practice of film passes inevitably through a reference to the work of Christian Metz. . . . The first book to be written in this field, ["Film Language"] is important not merely because of this primacy but also because of the issues it raises . . . issues that have become crucial to the contemporary argument."-Stephen Heath, "Screen""

Film Language: A Semiotics of the Cinema

Signification in the Cinema@@@Langage et cinema. Language and Cinema@@@Essais sur la signification au cinema. Vol. I. Film Language: A Semiotics of the Cinema

Michael Taylor

Papers

Film Language: A Semiotics of the Cinema

Signification in the Cinema@@@Langage et cinema. Language and Cinema@@@Essais sur la signification au cinema. Vol. I. Film Language: A Semiotics of the Cinema