Movement as meaning in experimental film:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Amsterdam [u.a.]
Rodopi
2008
|
| Schriftenreihe: | Consciousness, literature & the arts
13 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | IV, 224 S. Ill. |
| ISBN: | 9789042023857 9042023856 |
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Datensatz im Suchindex
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| adam_text | Titel: Movement as meaning in experimental film
Autor: Barnett, Daniel
Jahr: 2008
Table of Contents
Foreword: What this book is, what this book isn t... i
Preface: Arriving at the scene ... iii
Introduction: Two pictures of a rose in the dark... 1
Part I:
Modes of Perception and Modes of Expression
1. First ideas in new media: the cinematic suspension of
disbelief... 9
2. Describing how the mind moves toward understandings... 11
3. New paradigms for viewing experience and new ways of
creating meaning... 12
4. Theories of meaning: media, messages and how the mind
moves... 12
5. The relevance of the mechanism: lessons to carry forward
from an already ancient medium... 13
6. Frames vs. shots, surface vs. window... 16
7. What the surface of the screen can tell us about language... 17
8. Language integrates our perceptions as surely as the nervous
system integrates our sense data - Hallucination or
Metadata?... 18
9. Letting the mind surround an idea: an introduction to
Wittgenstein... 20
10. Ascertaining understanding: What one language must evoke,
another may stipulate (and vice versa)... 24
11. Dynamic and static theories of meaning... 27
12. Color, types of reference and the inveterate narrative... 28
13. The polyvalence of the picture... 32
14. Meaning and mutual experience - kinds of reference re¬
defined... 34
15. What has art got to do with it... 36
16. A whole new way of reading - the surface of the
screen and the modulation of self consciousness... 37
17. The anteroom of meaning and our conception of space... 41
18. Meaning and mental habits... 43
19. Assumed and earned meaning... 44
20. The spectrum of shared reference... 46
21. The story sequence and the montage - prologue... 47
22. When the editor learns about meaning... 48
23. Montage and metaphor... 49
24. The imitation of perception... 52
Part II:
Dynamic And Syntactic Universals
25. Non-Verbal Universals... 55
26. The polyvalence of the picture and the omnivalence of the
movie 58
27. The description of omnivalence as a floating target... 60
28. Dynamic universals: beginning, middle and
end - a prologue... 62
29. Language and the momentum of the body... 64
30. Syntactic universals: interval, context and repetition... 66
31. The synergy of symmetry... 72
32. Sidebar - another parallel model and another speculative
future... 73
33. Formal references in music and cinema... 76
34. The developmental leap - keeping the referent a mystery... 77
35. Resemblance and resonance...
36. The subliminal pull of the flicker... °*
37. Aural and visual cadence... °
38. The frame of the experience... 85
39. Resonance among frames...
40. Ancient history - the medium as the model... ^
41. Illustration, induction and repetition... 101
42. The material and the medium... 109
43. Sonics and seamlessness... 112
44. The private language machine and the evolution of a
medium... 114
45. Illusions and ontological linchpins... 118
46. Delimiting an audience... 125
47. Summarizing the singular window en route to the
panoramic view... 130
Part III:
The Moving Target
48. Digital ubiquity - the memosphere the mediasphere... 133
49. Compression and consciousness... 140
50. Indeterminacy of translation revisited and context
reconsidered... 148
51. The reconfigured attention span... 154
52. The synergy of the mediasphere... 157
53. The search engine and the editor-in-chief... 159
54. A sidebar on consciousness... 166
55. So, where is the screen?... 167
56. Definitions and boundaries... 171
57. The meaning is the metaphor (or not)... 173
58. The raw and the cooked... 176
59. A final reflection on method... 180
60. The grain and the pixel... 184
Appendix A: The Paillard Bolex Movie Camera
And the J-K Optical Printer 191
Acknowledgements 195
Bibliography 197
Filmography 201
Index 217
|
| adam_txt |
Titel: Movement as meaning in experimental film
Autor: Barnett, Daniel
Jahr: 2008
Table of Contents
Foreword: What this book is, what this book isn't. i
Preface: Arriving at the scene . iii
Introduction: Two pictures of a rose in the dark. 1
Part I:
Modes of Perception and Modes of Expression
1. First ideas in new media: the cinematic suspension of
disbelief. 9
2. Describing how the mind moves toward understandings. 11
3. New paradigms for viewing experience and new ways of
creating meaning. 12
4. Theories of meaning: media, messages and how the mind
moves. 12
5. The relevance of the mechanism: lessons to carry forward
from an already ancient medium. 13
6. Frames vs. shots, surface vs. window. 16
7. What the surface of the screen can tell us about language. 17
8. Language integrates our perceptions as surely as the nervous
system integrates our sense data - Hallucination or
Metadata?. 18
9. Letting the mind surround an idea: an introduction to
Wittgenstein. 20
10. Ascertaining understanding: What one language must evoke,
another may stipulate (and vice versa). 24
11. Dynamic and static theories of meaning. 27
12. Color, types of reference and the inveterate narrative. 28
13. The polyvalence of the picture. 32
14. Meaning and mutual experience - kinds of reference re¬
defined. 34
15. What has art got to do with it. 36
16. A whole new way of reading - the surface of the
screen and the modulation of self consciousness. 37
17. The anteroom of meaning and our conception of space. 41
18. Meaning and mental habits. 43
19. Assumed and earned meaning. 44
20. The spectrum of shared reference. 46
21. The story sequence and the montage - prologue. 47
22. When the editor learns about meaning. 48
23. Montage and metaphor. 49
24. The imitation of perception. 52
Part II:
Dynamic And Syntactic Universals
25. Non-Verbal Universals. 55
26. The polyvalence of the picture and the omnivalence of the
movie 58
27. The description of omnivalence as a floating target. 60
28. Dynamic universals: beginning, middle and
end - a prologue. 62
29. Language and the momentum of the body. 64
30. Syntactic universals: interval, context and repetition. 66
31. The synergy of symmetry. 72
32. Sidebar - another parallel model and another speculative
future. 73
33. Formal references in music and cinema. 76
34. The developmental leap - keeping the referent a mystery. 77
35. Resemblance and resonance. '"
36. The subliminal pull of the flicker. °*
37. Aural and visual cadence. °
38. The frame of the experience. 85
39. Resonance among frames.
40. Ancient history - the medium as the model. "^
41. Illustration, induction and repetition. 101
42. The material and the medium. 109
43. Sonics and seamlessness. 112
44. The private language machine and the evolution of a
medium. 114
45. Illusions and ontological linchpins. 118
46. Delimiting an audience. 125
47. Summarizing the singular window en route to the
panoramic view. 130
Part III:
The Moving Target
48. Digital ubiquity - the memosphere the mediasphere. 133
49. Compression and consciousness. 140
50. Indeterminacy of translation revisited and context
reconsidered. 148
51. The reconfigured attention span. 154
52. The synergy of the mediasphere. 157
53. The search engine and the editor-in-chief. 159
54. A sidebar on consciousness. 166
55. So, where is the screen?. 167
56. Definitions and boundaries. 171
57. The meaning is the metaphor (or not). 173
58. The raw and the cooked. 176
59. A final reflection on method. 180
60. The grain and the pixel. 184
Appendix A: The Paillard Bolex Movie Camera
And the J-K Optical Printer 191
Acknowledgements 195
Bibliography 197
Filmography 201
Index 217 |
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