FILM IS A LANGUAGE.

Film is a Language

Film is a Language

Introduction

Film is art, language and media. The film speaks through images, the frames, the spoken word, special effects, fitting, color and sound. The language of the film is based on photography, music, literature, comics and all artistic phenomena. Similarly, the film influences the other arts, bringing its forms of expression. The film is expressed in many and varied ways, thereby constituting the language of film (Henderson, 2003).

They need to be explored as separate conceptual categories, but also form a unity when viewed in the context of successive historical debates and moments of theoretical reflection. While conceptual distinctiveness derives in part from the inner logic of the disciplines involved, the historical framework is defined by the film's changing status within 20th century culture. As an art form, a communication medium, a mode of representation, and finally in this context most importantly as a form of signification.

Literature reflects it actors from the author's text; painting, composition, color, chiaroscuro, the theater in the actors play, staging, music, vocal, instrumental, orchestral. In the movie, all these elements are synthesized by the other arts that are merged into a single artistic whole. Therefore, the art of film so richly expressive means and their artistic abilities, it has space, time and motion. Its works are visual, public, and impressive. Keeping in mind that extraordinary wealth of art film has accessibility and great educational value (Coward, 2000).

Discussion

The rapport between film and linguistics is itself part of a history, that of our society's changing view of art and conditions of its production and reception. In the case of the film is the only art form that owes its existence entirely to capitalism, as long as the object of attention is the film, attributed to an individual, the film language/film grammar model predominated. When attention focused on the spectator, reader of a text found more favor properly linguistic models, since they provided a perspective on language as a set of rules valid irrespective of discrete input and constructing not merely intelligibility, but an intelligibility for someone.

If the film language/film, grammar model carries prescriptive overtones, a preference for classification is evident in the concepts that film scholars have drawn from linguistics. Though the debates are not without polemics, one can recognize the distinctions between an emphasis on pragmatics (the importance given to the spectator's 'inscription' in the film), syntactic (the internal relations of film units or segments) and semantics (what produces or controls meaning). There is also a marked difference between approaches that use verbal language as the model for nonverbal languages, and those that begin with semiotics in order to understand the film within a cultural theory of signs (Chatman, 2005).

The encounter between linguistics and the film was arguably crucial in constructing film as a theoretical object. Even in non-linguistic work on film, an increasing concern with methods at once rigorous and systematic testifies to the impact of linguistic procedures. Audiovisual creation is primarily a communicative ...