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Überlegungen zur Schrift im Film 

Chion, Michel

Zeitschrift für Medien- und Kulturforschung, Bd. 4 (2013), Iss. 1: S. 11–27

4 Citations (CrossRef)

Zusätzliche Informationen

Bibliografische Daten

Chion, Michel

Cited By

  1. Paul Natorp

    Bibliographie

    2010

    https://doi.org/10.3917/vrin.dufou.2010.01.0241 [Citations: 0]
  2. La critique de la psychologie de Natorp dans la Ve Recherche logique de Husserl

    Seron, Denis

    Philosophiques, Bd. 36 (2010), Heft 2 S.533

    https://doi.org/10.7202/039484ar [Citations: 3]
  3. LA LIMITE SANS LIMITES QUELQUES RREMARQUES SUE LE PRINCIPE PHENOMENOLOGIQUE DE LA GEGEBENHEIT A L’EPREUVE DU NEOKANTISME

    Mariani, Emanuele

    Phainomenon, Bd. 34 (2022), Heft 1 S.37

    https://doi.org/10.2478/phainomenon-2022-0010 [Citations: 0]
  4. Théorie de la connaissance du point de vue phénoménologique

    Bibliographie

    Seron, Denis

    2006

    https://doi.org/10.4000/books.pulg.5156 [Citations: 0]

Abstract

Writing is not only present in film through objects that belong to the diegesis (e.g. letters, neon signs, newspapers). In opening and closing credits as well as in intertitles, writing claims its own space – especially in silent movies, but also in the era of talkies. From there, it sometimes penetrates into the physical space of the film; at times the space of the opening credits appears as 〉real〈 space. Especially interesting are those cases in which letters and words seem to be themselves subjected to the laws of physical space, motion and gravity. This leads to interferences and paradoxes between two incompatible logics.