| Acknowledgements | 7 |
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| Abstract | 8 |
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| List of tables and figures | 11 |
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| Notes on citations and tables | 11 |
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| Preface | 13 |
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| 1 Peirce’s Semeiotic and the Living Sign | 19 |
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| 1.1 What is a Sign? | 19 |
| 1.2 One, two, three: a few sundry notes on triads, phenomenology, and the categories | 26 |
| 1.3 Nine sign divisions and ten sign classes | 31 |
| 1.4 The Decalogue: how signs grow | 34 |
| 1.5 A Body Awakes | 39 |
| 1.6 Icons, Photography, and Mimicry | 41 |
| 1.7 Dialogue, index, and dynamic object | 43 |
| 1.8 Habit and the growth of the symbol | 50 |
| 1.9 Inner dialogue, self-control, and dissent | 53 |
| 2 Parallel Developments and Divergences | 59 |
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| 2.1 New Dialogues | 59 |
| 2.2 Documentary as Text? | 67 |
| 2.3 Theorising Practice | 74 |
| 3 Rupture, Dissent, and Conflict in the Cinema of Jon Jost | 79 |
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| 3.1 Introduction | 79 |
| 3.2 Me, You, and We in Jon Jost’s Speaking Directly | 81 |
| 3.2.1 Violence and Authority | 86 |
| 3.2.2 Inner dialogue and semeiotic autonomy | 89 |
| 3.3 London Brief: Conformity and War | 93 |
| 3.4 Passages: Apage and Sacrifice | 100 |
| 4 War and biophilia in the cinema of Johan van der Keuken | 111 |
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| 4.1 Introduction | 111 |
| 4.2 Herman Slobbe: the pain of growth | 115 |
| 4.3 Ecology and self-control in the The Flat Jungle | 122 |
| 4.3.1 Greed and Animosity | 129 |
| 4.4 Face Value: Love and Death in the City | 133 |
| 4.4.1 History as Outward Clash | 139 |
| 4.4.2 Global War and Media | 142 |
| 4.4.3 Love Cycles | 144 |
| 5 Terror and love in the cinema of Rithy Panh | 154 |
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| 5.1 Introduction | 154 |
| 5.2 Love, chance, and hope in The Land of the Wandering Souls | 158 |
| 5.3 Self-cultivation and Reconstruction in S21: The Khmer Rouge Killing Machine | 170 |
| Conclusion | 191 |
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| References | 197 |
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| Index | 207 |
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