The frame of the experience Resonance among frames Ancient history — the medium as the model Illustration, induction and repetition The material and the medium Sonics and seamlessness The private language machine and the evolution of a medium Illusions and ontological linchpins Delimiting an audience The world of description Recapitulation and prospectus Shades of meaning — another perspective on perspective Yet another perspective on perspective: metaphors, images and pictures: the linguistic hall of mirrors Metaphor, image and brain Words are generated; image streams are wrought The metrics of vectors and resonances Two pictures of a nose in the dark An Obligatory sidebar on Eisenstein meets a structural allegory Hearing the image and the inherent omnivalence of music The organization of space in a model built for sound The category across modalities Similar to vs.
Description, Allegory, the Heuristic Dialectic and a short bridge to the future. Compression and consciousness What Medium? Indeterminacy of translation revisited and context reconsidered The reconfigured attention span The synergy of the media sphere The search engine, the barker and the editor-in-chief A sidebar on consciousness So, where is the screen?
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The moving meaning metaphor Working the method From the grain to the pixel Since experimental cinema is itself a rigorous exploration of form, duration, montage, perception and the music of time, his book is written in dialogue with these experiments. Barnett is a natural born philosopher who brings a wide range of reference from cognitive science and the theory of perception, language and its philosophy, music, painting and more to the dialogue, and equally important, the perspective of an artist who has lived within the subtle complexities of experimental film for a lifetime.
What emerges is both a wonderful study of filmmakers, and a vivid rethinking of what film is. This approach highlights a work's pictorial, rhythmical, and temporal recurrence features and its abstract aural-visual relations, rather than its use of literary or theatrical structures sequences of shots and scenes , as the bases for a truly cinematic form.
Barnett's interest is less in providing exegeses of individual films than in understanding film's dynamic potentials and how figures of movement encourage viewers to participate in making meaning that is, to use a particular work's syntactical regularities, the identification of which is a co-creative act, to assemble wholes that are felt to be coded and seemingly purposive structures -he views this process ultimately as a sort of transcendental journey that culminates in a kind of awakening.
The sources for Barnett's commentary on the cues the mind uses in this quest are rich and diverse: they include analytic philosophy especially the work of Willard Van Orman Quine , film theory, formalist poetics, linguistics, neurobiology, and evolutionary theory.
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This book is a highly original and deeply penetrating contribution to film theory. It is one of the major critical volumes on experimental cinema to emerge in recent decades. Daniel Barnett's thorough, passionate considerations reveal the philosophic roots of underground filmmaking, its dynamism, its relation to the other arts and to language.
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The author's insightful analysis is complemented by an engaging, questing voice, and a deeply-felt familiarity with the pleasures of avant-garde cinema. Drawing insights from wide-ranging sources: music, poetry, philosophy, linguistics, static visual art and 40 years as a dedicated filmmaker and scholar, the author finds a unique way to use the traditional, verbal medium to elucidate non-verbal forms of communication and meaning.
Throughout this pursuit, the author engages dynamic concepts from neurophysiology to illuminate the production of and the experience of experimental cinema. Through this remarkable convergence of ideas and firsthand experience the author and the reader arrive at the destination … together.
Movement as Meaning in Experimental Cinema
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