Movement as meaning in experimental cinema : the musical poetry of motion pictures revisited / Daniel Barnett.

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,...

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Bibliographic Details
Online Access:Electronic book from EBSCO
Main Author: Barnett, Daniel, 1944- (Author)
Format: eBook
Published:New York : Bloomsbury Academic, 2017.
Table of 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.