Ans-1.

The structure of cinema is defined by the codes in which it operates and the
codes
that operate within it. Codes are critical constructions—systems of logical
relationship—derived after the fact of film.

Ans-2. Derived codes—

those that exist outside film and that filmmakers simply reproduce .

Unique codes, those that form the specific syntax of film,"unique" is not a completely
accurate adjec-
tive. Not even the most specifically cinematic codes, those of montage, are truly unique
to cinema.

Ans.3.(A). The image is experienced as both an optical and a

mental phenomenon. The optical pattern is read saccadically; the mental experience is
the
result of the sum of cultural determinants, and is formed by it. Both optical and mental
intel-
lection combine in the concept of the sign, where signifier (s) is related to signified (s').
The
signifier is more optical than mental; the signified, more mental then optical. All three
levels
of reading—saccadic, semiotic, and cultural—then combine with each other in various
ways to produce meaning, either essentially denotative or essentially connotative.

B).UNDERSTANDING THE IMAGE: We understand an image not only for itself,

but in context: in relation to categories of choice (paradigmatic) and in relation to catego-
ries of construction (syntagmatic). The categories of choice are variously denotative or
connotative, and each variety, none of whose boundaries are sharply defined, is charac-
terized by the relationship between signifier and signified. In the iconic image, signifier is
identical with signified. In symbols the signifier is equal to the signified, but not identical.
In metonymies and synecdoches, signifier is similar in some way to signified, while in
tropes, the signifier is not equal to (distinctly different from) the signified. Here the rela-
tionship is considerably more tenuous. In indexes, signifier and signified are congruent.

Ans 4.Mise-en-scene is often regarded as static, montage as dynamic.

This is not the case. Because we read the shot, we are actively involved with it.
The codes of mise-en-scene are the tools with which the filmmaker alters and
modifies our reading of the shot. Since the shot is such a large unit of meaning, it
may be useful to separate a discussion of its components into two parts.

Ans 5. The three sets of compositional codes:

One concerns the plane of the image (most important, naturally, since the image
is, after all, two-dimensional). One deals with the geography of the space photo-
graphed (its plane is parallel with the ground and the horizon). The third involves
the plane of depth perception, perpendicular to both the frame plane and the geo-
graphical plane.