Movement as meaning in experimental cinema: the musical poetry of motion pictures revisited
Saved in:
| Main Author: | |
|---|---|
| Format: | Book |
| Language: | English |
| Published: |
New York
Bloomsbury Academic
2017
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis |
| Item Description: | Literaturverzeichnis Seite 291-295 |
| Physical Description: | xiv, 323 Seiten Illustrationen |
| ISBN: | 9781501329845 |
Staff View
MARC
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| 100 | 1 | |a Barnett, Daniel |4 aut | |
| 245 | 1 | 0 | |a Movement as meaning in experimental cinema |b the musical poetry of motion pictures revisited |c Daniel Barnett |
| 264 | 1 | |a New York |b Bloomsbury Academic |c 2017 | |
| 300 | |a xiv, 323 Seiten |b Illustrationen | ||
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| 650 | 4 | |a Film | |
| 650 | 4 | |a Psychologie | |
| 650 | 4 | |a Ästhetik | |
| 650 | 4 | |a Experimental films |x History and criticism | |
| 650 | 4 | |a Motion pictures |x Aesthetics | |
| 650 | 4 | |a Motion pictures |x Psychological aspects | |
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Record in the Search Index
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| adam_text | CONTENTS
Foreword: Where Does This Book Belong? x
Preface: Arriving at the Scene xiii
Introduction: Two Pictures of a Rose in the Dark 1
Part I Modes of Perception and Modes of Expression 9
1 First ideas in a new medium: the cinematic suspension of disbelief 9
2 One description of how the mind may move toward
understandings 11
3 New paradigms and new expressions 12
4 Theories of meaning—media, messages, and how the mind moves 13
5 The relevance of the mechanism—lessons to carry forward
from an already obsolete medium 13
6 Frames versus shots, surface versus 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 19
10 Ascertaining understanding: what one language must evoke, another
may stipulate (and vice versa) 24
11 Dynamic and static theories of meaning 26
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 redescribed 33
15 What has art got to do with it? 35
16 A whole new way of reading—the surface of the screen and the
modulation of self-consciousness 36
17 The anteroom of meaning and our conception of space 40
18 Meaning and mental habits 42
19 Assumed and earned meaning 43
viii
CONTENTS
20 The spectrum of shared reference 44
21 The story sequence and the montage—prologue 45
22 When the editor learns about meaning 46
23 Montage and metaphor 47
24 The imitation of perception 50
Part II Dynamic and Syntactic Universals 53
25 Nonverbal universals 53
26 The polyvalence of the picture and the omnivalence of the movie 56
27 The description of omnivalence as a floating target 58
28 Dynamic universals: beginning, middle, and end—a prologue 60
29 Language and the momentum of the body 62
30 Syntactic universals: interval, context, and repetition 64
31 The synergy of symmetry 70
32 Sidebar—another parallel model and another speculative future 70
33 Formal references in music and cinema 73
34 The developmental leap—keeping the referent a mystery 74
35 Resemblance and resonance 76
36 The subliminal pull of the flicker 78
37 Aural and visual cadence 79
38 The frame of the experience 81
39 Resonance among frames 84
40 Ancient history—the medium as the model 91
41 Illustration, induction, and repetition 95
42 The material and the medium 103
43 Sonics and seamlessness 105
44 The private language machine and the evolution of a medium 107
45 Illusions and ontological linchpins 111
46 Delimiting an audience 118
47 Summarizing the singular window en route to the panoramic
view 122
Part III Considering Description: Tropes, Tunes,
and Moving Pictures 127
48 The world of description 127
49 Recapitulation and prospectus 128
50 Shades of meaning—another perspective on perspective 130
CONTENTS
ix
51 Yet another perspective on perspective: metaphors, images, and
pictures—the linguistic hall of mirrors 134
52 Metaphor, image, and brain 145
53 Words are generated; image streams are wrought 159
54 The metrics of vectors and resonances 163
55 Two pictures of a nose in the dark 171
56 An obligatory sidebar on Eisenstein meets a structural allegory 178
57 Hearing the image and the inherent omnivalence of music 186
58 The organization of space in a model built for sound 202
59 The category across modalities 209
60 Similar to versus same as—periodicity and category 219
61 Description, allegory, the heuristic dialectic, and a short bridge
to the future 231
Part IV The Moving Target 233
62 Digital ubiquity—the memosphere and the mediasphere 233
63 Compression and consciousness 239
64 What medium? 244
65 Indeterminacy of translation revisited and context reconsidered 247
66 The reconfigured attention span 254
67 The synergy of the mediasphere 256
68 The search engine, the barker, and the editor-in-chief 259
69 A sidebar on consciousness 266
70 So, where is the screen? 267
71 The moving meaning metaphor 269
72 Working the method 271
73 From the grain to the pixel 275
74 Beyond the pixel—an overview 279
75 A fond adieu 281
Appendix 285
Acknowledgments (With a Comment about the Bibliography and
Filmography) 289
Bibliography 291
Filmography 2 96
Index 313
|
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| spelling | Barnett, Daniel aut Movement as meaning in experimental cinema the musical poetry of motion pictures revisited Daniel Barnett New York Bloomsbury Academic 2017 xiv, 323 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Literaturverzeichnis Seite 291-295 Film Psychologie Ästhetik Experimental films History and criticism Motion pictures Aesthetics Motion pictures Psychological aspects Ästhetik (DE-588)4000626-8 gnd rswk-swf Bewegung (DE-588)4006311-2 gnd rswk-swf Bedeutung (DE-588)4005184-5 gnd rswk-swf Experimentalfilm (DE-588)4153359-8 gnd rswk-swf Experimentalfilm (DE-588)4153359-8 s Ästhetik (DE-588)4000626-8 s DE-604 Bewegung (DE-588)4006311-2 s Bedeutung (DE-588)4005184-5 s 1\p DE-604 Erscheint auch als Online-Ausgabe 978-1-5013-2983-8 Erscheint auch als Online-Ausgabe, PDF 978-1-5013-2982-1 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=029867575&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis 1\p cgwrk 20201028 DE-101 https://d-nb.info/provenance/plan#cgwrk |
| spellingShingle | Barnett, Daniel Movement as meaning in experimental cinema the musical poetry of motion pictures revisited Film Psychologie Ästhetik Experimental films History and criticism Motion pictures Aesthetics Motion pictures Psychological aspects Ästhetik (DE-588)4000626-8 gnd Bewegung (DE-588)4006311-2 gnd Bedeutung (DE-588)4005184-5 gnd Experimentalfilm (DE-588)4153359-8 gnd |
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| title | Movement as meaning in experimental cinema the musical poetry of motion pictures revisited |
| title_auth | Movement as meaning in experimental cinema the musical poetry of motion pictures revisited |
| title_exact_search | Movement as meaning in experimental cinema the musical poetry of motion pictures revisited |
| title_full | Movement as meaning in experimental cinema the musical poetry of motion pictures revisited Daniel Barnett |
| title_fullStr | Movement as meaning in experimental cinema the musical poetry of motion pictures revisited Daniel Barnett |
| title_full_unstemmed | Movement as meaning in experimental cinema the musical poetry of motion pictures revisited Daniel Barnett |
| title_short | Movement as meaning in experimental cinema |
| title_sort | movement as meaning in experimental cinema the musical poetry of motion pictures revisited |
| title_sub | the musical poetry of motion pictures revisited |
| topic | Film Psychologie Ästhetik Experimental films History and criticism Motion pictures Aesthetics Motion pictures Psychological aspects Ästhetik (DE-588)4000626-8 gnd Bewegung (DE-588)4006311-2 gnd Bedeutung (DE-588)4005184-5 gnd Experimentalfilm (DE-588)4153359-8 gnd |
| topic_facet | Film Psychologie Ästhetik Experimental films History and criticism Motion pictures Aesthetics Motion pictures Psychological aspects Bewegung Bedeutung Experimentalfilm |
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