Film, As A Metaphorical Art

"Film,as a metaphorical art"is not only an expression of cinematic metaphor,butalso a theoretical modeling of cinematic ontology in the discourse of modern humanitiesand arts disciplinary.Therefore,it reqiures a new theoretical remaking of the cinematicontology,which is based on the characteristics of cinema through seeking of the newtheory.The aim of film studies in modern times is to obtain the"words"and the"gammers",thus it transfers the image into an"Empire of signs".But,the positive waysand orietations lead the studies into an awkful situation,and it needs imptus to breakthrough the situation.That is to say,the interpretation of cinematic ontology is not just aprivilege of classic film theory,but a new growing point of modern film theory,whichwill promote the studies of film.The thesis is devided into senven parts,which consists of"metaphor,visualmetaphor and cinematic metaphor","the metaphorical nature of cinema","the forms ofcinematic metaphor","the contextual metaphor of cinema","the metaphor of film genre","the textual metaphor of cinema","the metaphorical mechanism of cinema",and itfocuses on the nature,the forms,types,and mechnism of cinematic metaphor.So,it haspotrayed a theoretical state of metaphorical ontology of cinema.The theoretical construction of metaphorical ontology in the films needs to be madea convergence between the modern metaphor studies and the film studies.On one hand,it must maintain the commensuration in interdisciplinary.Then,on the other hand,it'smorphological manifestation ought to be ascribed to the characters of cinema.For thisreason,what the thesis come down to is a theoretical model which is presented by"Beingdominant by the content and reflected by the form".In the studies,the characaters whichare owned to the film constitute the core parts of the metaphorical ontology of cinema,such as the paradox of"material reality",scoptophilia,suture,phantasm and so on.However,the theoretical paradigm which can reflect the studies of modern metaphor compose the theoretical frame about the ontology of cinematic metaphor,such as thenature,the forms,and the mechanism of metaphor,and so on.What the thesis examines is not a development and interposition to the aesthetics,itis to be done in the support of films which had been made in the past hundred years.So,it is a basic requirement that all the analysis ought to base on the reading of films,and it'sinterpretation can be kept lively.Any way that is divorced from texts will lead the filmtheory into a"de-nature"state,and turn it into an appendant of aesthetics,or themetaphor.The interpretation is involved in theoretical investigation,comparative study(including comparative studies among different theoretical systems,and among differentkinds of arts),historical work,contextual analysis,and the other specific ways,such assemiotics,narratology,genre,psychanalysis and so on.Certainly,all the ways are notused separately,or like to choose a standard answer in many items.In fact,the theoreticalanalysis will pay more attention to the amalgamation,availability,reliability between theways and the contents.It will avoid the stiffusing to make a shallow interpretation aboutthe cinematic metaphor.