Cinematic devices in signed discourse? The case of eyeline match and point-of-view
editing (presentation in English)
This poster illustrates the observed structural similarity between film and certain iconic
devices used in signed discourse. The mental space theory approach (Liddell 2003, Dudis
2004) is used to identify both signed phenomena that will be compared: Constructed action
(visible surrogates) and depicting verbs (classifier constructions). The study is based on a
small corpus of filmed signed discourse in DGS (German Sign Language). The paper focusses
on the cinematic structure of eyeline match and (optical) point-of-view editing.
Film has developed a widely used montage syntax describable as the sequence of a character
looking at something (presumably offscreen) and the object looked at. This sequence is called
eyeline match and consists of two shots, the glance shot and the object shot. A point-of-view
(POV) shot is a subtype of the eyeline match (Branigan 1984).
In DGS, signers can use lexemes to express that person A sees an either object, or person B.
They can also use iconic devices as constructed action and depicting verbs. With these, a
structure comparable to film syntax is produced. In both film and sign, spatial orientation is at
issue.
The DGS structure analogous to the eyeline match can be described as follows. The glance
shot is expressed via constructed action (which makes eye behaviour visible). The object shot
is expressed via constructed action (e.g. in case of dialogue editing), or via depicting verbs (in
case of a long distance between looker and object).
In a dialogue sequence consisting of two instances of constructed action, the object shot can
either be a reverse-angle, or a POV shot. The first character is presented as looking at a
second, non-visible character, who is then shown as the ‘object looked at’, either at a reverse
angle or facing the discourse addressee (POV shot). The latter is a subjective shot, presenting
the view as the first character sees it.
Depicting spaces (consisting of classifier constructions) are used to represent objects at a
distance. Combinations of constructed action/glance shot and depicting verb/object shot can
be expressed sequentially or simultaneously (as a superimposition of shots). In these cases,
the spatial relation between looker and object looked at tends to be preserved. This results in
the adoption of a “stage editing” strategy, with the camera seemingly tracking backwards (and
sideways), but maintaining its angle of view. The effect of this is that objects are presented to
the addressee from their back side, and not as a reverse-angle shot or a POV shot (as seen
from the character). When depicted scenes are signed in front of the signer’s eye, a virtual
POV shot may be triggered. Putting oneself in someone else’s position enables an addressee
of signed discourse to perceive depicting verbs signed in front of the signer’s eyes as a
subjective shot.
Because constructed action and depicting verbs (or role shift and classifier constructions)
exist in many sign languages, cross-linguistic comparison with respect to types of eyeline
match structures might reveal different strategies and preferences. The adaptation of
cinematic concepts could provide a terminological basis.
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