Movement as meaning in experimental cinema :: the musical poetry of motion pictures revisited /
This title offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval,...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
New York :
Bloomsbury Academic,
2017.
|
| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | This title offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition, and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. |
| Beschreibung: | 1 online resource |
| Bibliographie: | Includes bibliographical references and index. Includes filmography. |
| ISBN: | 9781501329821 1501329820 9781501329838 1501329839 9781501329814 1501329812 |
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| 100 | 1 | |a Barnett, Daniel, |d 1944- |e author. |1 https://id.oclc.org/worldcat/entity/E39PCjwvwkqccXDxHdmKrGbxtC |0 http://id.loc.gov/authorities/names/nb2008015383 | |
| 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. | |
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| 504 | |a Includes bibliographical references and index. | ||
| 504 | |a Includes filmography. | ||
| 588 | 0 | |a Print version record. | |
| 505 | 0 | |a Cover; Half Title; Title; Copyright; Dedication; Epigraphh; Contents; Foreword where does this Book Belong?; Preface: Arriving at the Scene; Introduction: Two Pictures of a Rose in the Dark; Part I Modes of Perception and Modes of Expression; 1. First ideas in a new medium: the cinematic suspension of disbelief; 2. One description of how the mind may move toward understandings; 3. New paradigms and new expressions; 4. Theories of meaning-media, messages, and how the mind moves; 5. The relevance of the mechanism-lessons to carry forward from an already obsolete medium. | |
| 505 | 8 | |a 6. Frames versus shots, surface versus window7. What the surface of the screen can tell us about language; 8. Language integrates our perceptions as surely as the nervous system integrates our sense data-.hallucination or metadata?; 9. Letting the mind surround an idea: an introduction to Wittgenstein; 10. Ascertaining understanding: what one language must evoke, another may stipulate (and vice versa); 11. Dynamic and static theories of meaning; 12. Color, types of reference, and the inveterate narrative; 13. The polyvalence of the picture. | |
| 505 | 8 | |a 14. Meaning and mutual experience-kinds of reference redescribed15. What has art got to do with it?; 16. A whole new way of reading-the surface of the screen and the modulation of self-.consciousness; 17. The anteroom of meaning and our conception of space; 18. Meaning and mental habits; 19. Assumed and earned meaning; 20. The spectrum of shared reference; 21. The story sequence and the montage-prologue; 22. When the editor learns about meaning; 23. Montage and metaphor; 24. The imitation of perception; Part II Dynamic and Syntactic Universals; 25. Nonverbal universals. | |
| 505 | 8 | |a 26. The polyvalence of the picture and the omnivalence of the movie27. The description of omnivalence as a floating target; 28. Dynamic universals: beginning, middle, and end-a prologue; 29. Language and the momentum of the body; 30. Syntactic universals: interval, context, and repetition; Interval:; Context:; Repetition:; 31. The synergy of symmetry; 32. Sidebar-another parallel model and another speculative future; 33. Formal references in music and cinema; 34. The developmental leap-keeping the referent a mystery; 35. Resemblance and resonance; 36. The subliminal pull of the flicker. | |
| 505 | 8 | |a 37. Aural and visual cadence38. The frame of the experience; 39. Resonance among frames; 40. Ancient history-the medium as the model; 41. Illustration, induction, and repetition; 42. The material and the medium; 43. Sonics and seamlessness; 44. The private language machine and the evolution of a medium; 45. Illusions and ontological linchpins; 46. Delimiting an audience; 47. Summarizing the singular window en route to the panoramic view; Part III Considering Description: Tropes, Tunes, and Moving Pictures; 48. The world of description; 49. Recapitulation and prospectus. | |
| 520 | 8 | |a This title offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition, and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. | |
| 650 | 0 | |a Experimental films |x History and criticism. | |
| 650 | 0 | |a Motion pictures |x Aesthetics. |0 http://id.loc.gov/authorities/subjects/sh85088085 | |
| 650 | 0 | |a Motion pictures |x Psychological aspects. | |
| 650 | 6 | |a Cinéma |x Esthétique. | |
| 650 | 6 | |a Cinéma |x Aspect psychologique. | |
| 650 | 7 | |a Film theory & criticism. |2 bicssc | |
| 650 | 7 | |a Film: styles & genres. |2 bicssc | |
| 650 | 7 | |a PERFORMING ARTS |x Reference. |2 bisacsh | |
| 650 | 7 | |a Experimental films |2 fast | |
| 650 | 7 | |a Motion pictures |x Aesthetics |2 fast | |
| 650 | 7 | |a Motion pictures |x Psychological aspects |2 fast | |
| 655 | 7 | |a Criticism, interpretation, etc. |2 fast | |
| 758 | |i has work: |a Movement as meaning in experimental cinema (Text) |1 https://id.oclc.org/worldcat/entity/E39PCGpjy8dYGkBPy4pHBvPWQm |4 https://id.oclc.org/worldcat/ontology/hasWork | ||
| 776 | 0 | 8 | |i Print version: |a Barnett, Daniel, 1944- |t Movement as meaning in experimental cinema. |d New York : Bloomsbury Academic, 2017 |z 9781501329845 |w (DLC) 2017003378 |w (OCoLC)968638950 |
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| contents | Cover; Half Title; Title; Copyright; Dedication; Epigraphh; Contents; Foreword where does this Book Belong?; Preface: Arriving at the Scene; Introduction: Two Pictures of a Rose in the Dark; Part I Modes of Perception and Modes of Expression; 1. First ideas in a new medium: the cinematic suspension of disbelief; 2. One description of how the mind may move toward understandings; 3. New paradigms and new expressions; 4. Theories of meaning-media, messages, and how the mind moves; 5. The relevance of the mechanism-lessons to carry forward from an already obsolete medium. 6. Frames versus shots, surface versus window7. What the surface of the screen can tell us about language; 8. Language integrates our perceptions as surely as the nervous system integrates our sense data-.hallucination or metadata?; 9. Letting the mind surround an idea: an introduction to Wittgenstein; 10. Ascertaining understanding: what one language must evoke, another may stipulate (and vice versa); 11. Dynamic and static theories of meaning; 12. Color, types of reference, and the inveterate narrative; 13. The polyvalence of the picture. 14. Meaning and mutual experience-kinds of reference redescribed15. What has art got to do with it?; 16. A whole new way of reading-the surface of the screen and the modulation of self-.consciousness; 17. The anteroom of meaning and our conception of space; 18. Meaning and mental habits; 19. Assumed and earned meaning; 20. The spectrum of shared reference; 21. The story sequence and the montage-prologue; 22. When the editor learns about meaning; 23. Montage and metaphor; 24. The imitation of perception; Part II Dynamic and Syntactic Universals; 25. Nonverbal universals. 26. The polyvalence of the picture and the omnivalence of the movie27. The description of omnivalence as a floating target; 28. Dynamic universals: beginning, middle, and end-a prologue; 29. Language and the momentum of the body; 30. Syntactic universals: interval, context, and repetition; Interval:; Context:; Repetition:; 31. The synergy of symmetry; 32. Sidebar-another parallel model and another speculative future; 33. Formal references in music and cinema; 34. The developmental leap-keeping the referent a mystery; 35. Resemblance and resonance; 36. The subliminal pull of the flicker. 37. Aural and visual cadence38. The frame of the experience; 39. Resonance among frames; 40. Ancient history-the medium as the model; 41. Illustration, induction, and repetition; 42. The material and the medium; 43. Sonics and seamlessness; 44. The private language machine and the evolution of a medium; 45. Illusions and ontological linchpins; 46. Delimiting an audience; 47. Summarizing the singular window en route to the panoramic view; Part III Considering Description: Tropes, Tunes, and Moving Pictures; 48. The world of description; 49. Recapitulation and prospectus. |
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| dewey-search | 791.43/611 |
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| discipline | Allgemeines |
| format | Electronic eBook |
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| genre_facet | Criticism, interpretation, etc. |
| id | ZDB-4-EBA-ocn990802787 |
| illustrated | Not Illustrated |
| indexdate | 2024-11-27T13:27:54Z |
| institution | BVB |
| isbn | 9781501329821 1501329820 9781501329838 1501329839 9781501329814 1501329812 |
| language | English |
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| physical | 1 online resource |
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| spelling | Barnett, Daniel, 1944- author. https://id.oclc.org/worldcat/entity/E39PCjwvwkqccXDxHdmKrGbxtC http://id.loc.gov/authorities/names/nb2008015383 Movement as meaning in experimental cinema : the musical poetry of motion pictures revisited / Daniel Barnett. New York : Bloomsbury Academic, 2017. 1 online resource text txt rdacontent computer c rdamedia online resource cr rdacarrier Includes bibliographical references and index. Includes filmography. Print version record. Cover; Half Title; Title; Copyright; Dedication; Epigraphh; Contents; Foreword where does this Book Belong?; Preface: Arriving at the Scene; Introduction: Two Pictures of a Rose in the Dark; Part I Modes of Perception and Modes of Expression; 1. First ideas in a new medium: the cinematic suspension of disbelief; 2. One description of how the mind may move toward understandings; 3. New paradigms and new expressions; 4. Theories of meaning-media, messages, and how the mind moves; 5. The relevance of the mechanism-lessons to carry forward from an already obsolete medium. 6. Frames versus shots, surface versus window7. What the surface of the screen can tell us about language; 8. Language integrates our perceptions as surely as the nervous system integrates our sense data-.hallucination or metadata?; 9. Letting the mind surround an idea: an introduction to Wittgenstein; 10. Ascertaining understanding: what one language must evoke, another may stipulate (and vice versa); 11. Dynamic and static theories of meaning; 12. Color, types of reference, and the inveterate narrative; 13. The polyvalence of the picture. 14. Meaning and mutual experience-kinds of reference redescribed15. What has art got to do with it?; 16. A whole new way of reading-the surface of the screen and the modulation of self-.consciousness; 17. The anteroom of meaning and our conception of space; 18. Meaning and mental habits; 19. Assumed and earned meaning; 20. The spectrum of shared reference; 21. The story sequence and the montage-prologue; 22. When the editor learns about meaning; 23. Montage and metaphor; 24. The imitation of perception; Part II Dynamic and Syntactic Universals; 25. Nonverbal universals. 26. The polyvalence of the picture and the omnivalence of the movie27. The description of omnivalence as a floating target; 28. Dynamic universals: beginning, middle, and end-a prologue; 29. Language and the momentum of the body; 30. Syntactic universals: interval, context, and repetition; Interval:; Context:; Repetition:; 31. The synergy of symmetry; 32. Sidebar-another parallel model and another speculative future; 33. Formal references in music and cinema; 34. The developmental leap-keeping the referent a mystery; 35. Resemblance and resonance; 36. The subliminal pull of the flicker. 37. Aural and visual cadence38. The frame of the experience; 39. Resonance among frames; 40. Ancient history-the medium as the model; 41. Illustration, induction, and repetition; 42. The material and the medium; 43. Sonics and seamlessness; 44. The private language machine and the evolution of a medium; 45. Illusions and ontological linchpins; 46. Delimiting an audience; 47. Summarizing the singular window en route to the panoramic view; Part III Considering Description: Tropes, Tunes, and Moving Pictures; 48. The world of description; 49. Recapitulation and prospectus. This title offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition, and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference. Experimental films History and criticism. Motion pictures Aesthetics. http://id.loc.gov/authorities/subjects/sh85088085 Motion pictures Psychological aspects. Cinéma Esthétique. Cinéma Aspect psychologique. Film theory & criticism. bicssc Film: styles & genres. bicssc PERFORMING ARTS Reference. bisacsh Experimental films fast Motion pictures Aesthetics fast Motion pictures Psychological aspects fast Criticism, interpretation, etc. fast has work: Movement as meaning in experimental cinema (Text) https://id.oclc.org/worldcat/entity/E39PCGpjy8dYGkBPy4pHBvPWQm https://id.oclc.org/worldcat/ontology/hasWork Print version: Barnett, Daniel, 1944- Movement as meaning in experimental cinema. New York : Bloomsbury Academic, 2017 9781501329845 (DLC) 2017003378 (OCoLC)968638950 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1539432 Volltext |
| spellingShingle | Barnett, Daniel, 1944- Movement as meaning in experimental cinema : the musical poetry of motion pictures revisited / Cover; Half Title; Title; Copyright; Dedication; Epigraphh; Contents; Foreword where does this Book Belong?; Preface: Arriving at the Scene; Introduction: Two Pictures of a Rose in the Dark; Part I Modes of Perception and Modes of Expression; 1. First ideas in a new medium: the cinematic suspension of disbelief; 2. One description of how the mind may move toward understandings; 3. New paradigms and new expressions; 4. Theories of meaning-media, messages, and how the mind moves; 5. The relevance of the mechanism-lessons to carry forward from an already obsolete medium. 6. Frames versus shots, surface versus window7. What the surface of the screen can tell us about language; 8. Language integrates our perceptions as surely as the nervous system integrates our sense data-.hallucination or metadata?; 9. Letting the mind surround an idea: an introduction to Wittgenstein; 10. Ascertaining understanding: what one language must evoke, another may stipulate (and vice versa); 11. Dynamic and static theories of meaning; 12. Color, types of reference, and the inveterate narrative; 13. The polyvalence of the picture. 14. Meaning and mutual experience-kinds of reference redescribed15. What has art got to do with it?; 16. A whole new way of reading-the surface of the screen and the modulation of self-.consciousness; 17. The anteroom of meaning and our conception of space; 18. Meaning and mental habits; 19. Assumed and earned meaning; 20. The spectrum of shared reference; 21. The story sequence and the montage-prologue; 22. When the editor learns about meaning; 23. Montage and metaphor; 24. The imitation of perception; Part II Dynamic and Syntactic Universals; 25. Nonverbal universals. 26. The polyvalence of the picture and the omnivalence of the movie27. The description of omnivalence as a floating target; 28. Dynamic universals: beginning, middle, and end-a prologue; 29. Language and the momentum of the body; 30. Syntactic universals: interval, context, and repetition; Interval:; Context:; Repetition:; 31. The synergy of symmetry; 32. Sidebar-another parallel model and another speculative future; 33. Formal references in music and cinema; 34. The developmental leap-keeping the referent a mystery; 35. Resemblance and resonance; 36. The subliminal pull of the flicker. 37. Aural and visual cadence38. The frame of the experience; 39. Resonance among frames; 40. Ancient history-the medium as the model; 41. Illustration, induction, and repetition; 42. The material and the medium; 43. Sonics and seamlessness; 44. The private language machine and the evolution of a medium; 45. Illusions and ontological linchpins; 46. Delimiting an audience; 47. Summarizing the singular window en route to the panoramic view; Part III Considering Description: Tropes, Tunes, and Moving Pictures; 48. The world of description; 49. Recapitulation and prospectus. Experimental films History and criticism. Motion pictures Aesthetics. http://id.loc.gov/authorities/subjects/sh85088085 Motion pictures Psychological aspects. Cinéma Esthétique. Cinéma Aspect psychologique. Film theory & criticism. bicssc Film: styles & genres. bicssc PERFORMING ARTS Reference. bisacsh Experimental films fast Motion pictures Aesthetics fast Motion pictures Psychological aspects fast |
| subject_GND | http://id.loc.gov/authorities/subjects/sh85088085 |
| 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 | Experimental films History and criticism. Motion pictures Aesthetics. http://id.loc.gov/authorities/subjects/sh85088085 Motion pictures Psychological aspects. Cinéma Esthétique. Cinéma Aspect psychologique. Film theory & criticism. bicssc Film: styles & genres. bicssc PERFORMING ARTS Reference. bisacsh Experimental films fast Motion pictures Aesthetics fast Motion pictures Psychological aspects fast |
| topic_facet | Experimental films History and criticism. Motion pictures Aesthetics. Motion pictures Psychological aspects. Cinéma Esthétique. Cinéma Aspect psychologique. Film theory & criticism. Film: styles & genres. PERFORMING ARTS Reference. Experimental films Motion pictures Aesthetics Motion pictures Psychological aspects Criticism, interpretation, etc. |
| url | https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1539432 |
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