Winston, Brian and Tsang, Hing (2009) The subject and the indexicality of the photograph. Semiotica 173�1/4 (2009), 453�469, 173 (1-4). pp. 453-469. ISSN 0037-1998

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Abstract

Taking as a case study the documentary Unknown White Male (UK, 2005) — a film whose theme and reception problematizes stable notions of what constitutes subjectivity — a corrective is offered to the dominant mode applying Peircean semiotics to the moving image. Cinema and media studies have tended to apply Peirce's triadic division of the sign in a limited, formalist way following the explications of his method offered by Wollen and others. However Wollen ignores Peirce's placement of photograph as indexical within the context of the iconic as well as the distinction Peirce draws between ‘instantaneous’ and ‘composite’ photographs. Moreover, Peirce's more general understanding of the importance of semiotic analysis to the overall mental well-being of the human subject, hitherto largely ignored by media scholars, is also addressed.

Item Type:	Article
Keywords:	semotics, documentary film, Wollen, indexicality, iconicity, Semiology, ref36, refdoi
Subjects:	P Mass Communications and Documentation > P300 Media studies P Mass Communications and Documentation > P303 Film studies
Divisions:	College of Arts > Faculty of Media, Humanities & Performance > Lincoln School of Media
Depositing User:	Brian Winston
Date Deposited:	25 Jan 2010 16:28
Last Modified:	13 May 2013 17:16
URI:	http://eprints.lincoln.ac.uk/id/eprint/2143

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