activityocean

This dissertation examines the relationship between language, structure, and sequence in cinema, and explores how these elements function as mechanisms of communication. Central to this investigation is the question: Does the sequential structure of communication facilitate a clearer understanding of the author’s intention?

Sequential structures are fundamental to human communication. They are present in basic linguistic systems—both oral and written—as well as in visual communicative forms such as illustrated picture books and cinema. From spoken narrative to the cinematic montage, meaning unfolds through ordered progression. This suggests that sequence is not merely a structural device, but a cognitive and conceptual framework through which understanding is constructed.

Recognising the universal presence of sequence in communication allows for the conceptual identification of authorial intention. Within this framework, the author’s intention may be understood as a “germinal idea”—a core conceptual nucleus from which the work develops. This germinal idea operates as the structural and emotional foundation of the narrative.

In visual sequences—particularly within illustrated picture books—this germinal idea may manifest as what can be described as the “perfect image.” The perfect image is not simply aesthetically resolved; rather, it encapsulates both conceptually and emotionally the central intention of the story. It becomes the moment in which structure, meaning, and affect converge. Ultimately, this image reflects and aligns with the primary intention of the author.