摘要：The article aims to stimulate greater attention by semiotics of cinema upon production practices and preparatory materials for the film, as yet not so much studied compared to the dynamics that the texts themselves activate on the audiences. This proposed extension of the field of research, is thorough in its theoretical premises in two phases. First is contextualized in relation to the practice of "traditional" semiotic analysis; then, using the semiotic tools developed by Eric Landowski, in particular by exploiting the concept of "adjustment" developed in the framework of reflection on how subjects interact, are highlighted fields of application (e.g. the work of the directors with the actors) and heuristic potential benefits.
其他摘要：The article aims to stimulate greater attention by semiotics of cinema upon production practices and preparatory materials for the film, as yet not so much studied compared to the dynamics that the texts themselves activate on the audiences. This proposed extension of the field of research, is thorough in its theoretical premises in two phases. First is contextualized in relation to the practice of "traditional" semiotic analysis; then, using the semiotic tools developed by Eric Landowski, in particular by exploiting the concept of "adjustment" developed in the framework of reflection on how subjects interact, are highlighted fields of application (e.g. the work of the directors with the actors) and heuristic potential benefits.
