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Since its inception, the film can show that reality and what is present-Lumière, or images that arise from the imagination and creativity of the filmmaker-Méliès. Russian director Eisenstein was convinced that there was no visible reality directly and "naked" that would capture the camera lens but was the director who had to organize reality he saw. So that first organization and would be metaphorical. Cognitive science considered essential visual metaphors to complete the knowledge of the human mind, in fact to understand the world metaphors are needed because they serve to structure our thinking. As defined by Lakof & Johnson (1980) a metaphor is to understand one thing in terms of another, is a projection of domain-domain origin and destination domain. The metaphors that are part of our unconscious are called primary and universal. Henry (1970) and Vicente Sánchez-Biosca (1985) analyzed the expressionist cinema Weimar German-o-and outline the organization of the metaphorical space within the plane is carefully segmented denso.Cuando Eisenstein responsible to the director of interpretation of reality by staging, is implementing a primary metaphor has metaphorized perceived. And Vico in the eighteenth century said that the first metaphor was originated at the time when primitive man first associated the thunder of a storm with the emotion of anger. Psychologists of the Gestalt Theory or theory of how Arnheim, analyzed in depth the phenomenon called "physiognomic perception": the square and the circle conveys stability has universal meaning of perfection, dark colors are considered strong and pastel colors, weak.
The anti-chopped and chopped at the movies, says Eikhembaun are primary metaphors because it amounts to looking at someone from above or from below as the viewer identifies with the point of view of the camera. Another mechanism widely used in film and based on this primary metaphor is illuminating obscure the good and bad, the frame closed as a metaphor for imprisonment physical or mental maps or use long / short to mark distance / closeness. You can also create many metaphors in the post as in video art and video clips.
The author in more sectors (television and print advertising, and documentary film plot, sound, music and comics) analyzed the visual metaphor was Forceville (1999) who builds his own theory corroborating the metaphor comes from the thought and call forth the hybrid metaphor consisting represent an object so that it looks like another but without the help of context-coffee machine design associated with a butler, for example. Forceville also asserts that the cognitive theory of metaphor really work when you stop using the verbal expressions to show that the metaphor is not a matter of language but of thought. That is, it is not necessary translate into words a visual metaphor to demonstrate its existence, but listen to what he calls signals : placing an object in a context other than month-wrench into his violin case or throw a kiss with string sound to mean the kiss imprisons. Forceville also believes that it is not necessary that the author intentionally create a metaphor for existence.
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Another author who defends the operation of the components of verbal metaphor is nonverbal arts Hausman (1989). Raises the difference between symbol and metaphor. A symbol can be repeated but a recurring metaphor is a dead metaphor and nuances that have to talk about adequacy or otherwise of metaphor in our perception of the world whether it is true or false.
Wittock (1990) suggests developing a proper metaphor stylistics of the film and says that to understand metaphors need a study of the psychological processes where the metaphors are conceived and understood, what he calls imaginative theory of metaphor and proposes two strategies for reading Image: prepare the viewer for reading metaphorical-that takes time and requires a certain level of media literacy, or use metaphors without obstructing the action-tracking method used in western movies where they coexist metaphorical and literal meanings in the same plane and is the director who decides to emphasize the metaphor or leave in the background. The film Citizen Kane (Welles, 1981), the great mansion where they live Susan and Kane is a metaphorical representation of distance in your relationship: large spaces exaggerated wide angle and that dwarf the actors, sound eco ... The action can be followed without entering the metaphorical reading. The taxonomy of formulas proposed Wittock-metaphorical metonymy, substitution, juxtaposition, distortion, parallelism, we can apply comparison explicitly in films emblematic Psycho (Hitchcock, 1968) where for example , Marion Crane's shower is physical and spiritual, which makes us feel much more terrible murder or surrealist films, experimental and poetic as A chien andalou Buñuel (1929) where the moon with the eye or cut tag is an example of juxtaposition, or an illogical selection of angles, approaches and frames would make a certain level in metonymic and even fear of heights in Vertigo (Hitchcock, 1958) distortion would render a dizzying shift in prespective on the plane of the ladder, obtained with a crane and zoom in opposite directions simultaneously. Example latter most evident in The Great Dictator (Chaplin, 1940) when Hynkel launches his speech against Jews in pseudo-German. As there is no syntax in film set, breaking the rules is more difficult to recognize because they are breaking cinematic conventions as in Psycho: the audience does not expect the character disappears at the beginning of the story and murder in the shower at the beginning of the film causes us a feeling of insecurity before their existence.
cinema and audiovisual in general need metaphors, sometimes even we are unaware of their existence because we have very internalized. Would therefore be analyzed as with the literature and not ignore the fact that the narrative of our century is also the image.
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