Any element of a film is already linguistically meaningful.
They are more like statements (the cliche that "a picture is worth a thousand words" comes to mind), and the paradigmatic process - choosing which from the paradigmatic series to place in the syntagmatic chain - is considerably diluted in film as the paradigmatic field is made virtually trivial, and the syntagmatic ordering is similarly weakened. In other words, in a sentence the choice of words is constrained to some extent by what choices are available within a vocabulary, and then by the grammar which constrains what can appear where.
When composing a film image there is no substantive paradigmatic series that the sequence most be chosen from within, and then once a shot is composed, its location within a syntagmatic series (a sequence) is similarly much more open than that offered by a linguistic grammar.
They are more like statements (the cliche that "a picture is worth a thousand words" comes to mind), and the paradigmatic process - choosing which from the paradigmatic series to place in the syntagmatic chain - is considerably diluted in film as the paradigmatic field is made virtually trivial, and the syntagmatic ordering is similarly weakened. In other words, in a sentence the choice of words is constrained to some extent by what choices are available within a vocabulary, and then by the grammar which constrains what can appear where.
When composing a film image there is no substantive paradigmatic series that the sequence most be chosen from within, and then once a shot is composed, its location within a syntagmatic series (a sequence) is similarly much more open than that offered by a linguistic grammar.
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See that post with different algorithms in metabole
See the journal French Metablog with today different posts
