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05393aam a2200373 i 4500 001 066072B2FDB011E7BCC604F996128E48 003 SILO 005 20180120010217 008 170502t20172017nyua bq 001 0 eng 010 $a 2017003378 020 $a 1501329847 020 $a 9781501329845 035 $a (OCoLC)968638950 040 $a DLC $b eng $e rda $c DLC $d YDX $d BTCTA $d BDX $d OCLCO $d OCLCF $d YDX $d IAK $d NUI $d SILO 042 $a pcc 050 00 $a PN1995.9.E96 $b B34 2017 082 00 $a 791.43/611 $2 23 100 1 $a Barnett, Daniel, $d 1944- $e author. 245 10 $a Movement as meaning in experimental cinema : $b the musical poetry of motion pictures revisited / $c Daniel Barnett. 264 1 $a New York, NY : $b Bloomsbury Academic, an imprint of Bloomsbury Publishing Inc, $c 2017. 300 $a xiv, 323 pages : $b illustrations; $c 24 cm 504 $a Includes bibliographical references and index. 504 $a Includes filmography. 505 0 $a 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 atid modes of expression. First ideas in a new medium : the cinematic suspension of disbelief ; One description of how the mind may move toward understandings ; New paradigms and new expressions ; Theories of meaning : media, messages, and how the mind moves ; The relevance of the mechanism : lessons to carry forward from an already obsolete medium ; Frames versus shots, surface versus window ; What the surface of the screen can tell us about language ; Language integrates our perceptions as surely as the nervous system integrates our sense data : hallucination or metadata? ; Letting the mind surround an idea : an introduction to Wittgenstein ; Ascertaining understanding : what one language must evoke, another may stipulate (and vice versa) ; Dynamic and static theories of meaning ; Color, types of reference, and the inveterate narrative ; The polyvalence of the picture ; Meaning and mutual experience : kinds of reference redescribed ; What has art got to do with it? ; A whole new way of reading : the surface of the screen and the modulation of self-consciousness ; The anteroom of meaning and our conception of space ; Meaning and mental habits ; Assumed and earned meaning ; The spectrum of shared reference ; The story sequence and the montage : prologue ; When the editor learns about meaning ; Montage and metaphor ; The imitation of perception -- Part II: Dynamic and syntactic universals. Nonverbal universals ; The polyvalence of the picture and the omnivalence of the movie ; The description of omnivalence as a floating target ; Dynamic universals : beginning, middle, and end : a prologue ; Language and the momentum of the body ; Syntactic universals : interval, context, and repetition ; The synergy of symmetry ; Sidebar : another parallel model and another speculative future ; Formal references in music and cinema ; The developmental leap : keeping the referent a mystery ; Resemblance and resonance ; The subliminal pull of the flicker ; Aural and visual cadence ; 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 ; Summarizing the singular window en route to the panoramic view -- Part III: Considering description : tropes, tunes, and moving pictures. 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 versus same as : periodicity arid category ; Description, allegory, the heuristic dialectic, and a short bridge to the future -- Part IV: The moving target. Digital ubiquity : the memosphere and the mediasphere ; Compression and consciousness ; What medium? ; Indeterminacy of translation revisited and context reconsidered ; The reconfigured attention span ; The synergy of the mediasphere ; The search engine, the barker, and the editor-in-chief ; A sidebar on consciousness ; So, where is the screen? ; The moving meaning metaphor ; Working the method ; From the grain to the pixel ; Beyond the pixel : an overview ; A fond adieu -- Appendix. 650 0 $a Experimental films $x History and criticism. 650 0 $a Motion pictures $x Aesthetics. 650 0 $a Motion pictures $x Psychological aspects. 650 7 $a Experimental films. $2 fast $0 (OCoLC)fst00918452 650 7 $a Motion pictures $x Aesthetics. $2 fast $0 (OCoLC)fst01027288 650 7 $a Motion pictures $x Psychological aspects. $2 fast $0 (OCoLC)fst01027364 655 7 $a Criticism, interpretation, etc. $2 fast $0 (OCoLC)fst01411635 941 $a 1 952 $l OVUX522 $d 20180710105943.0 956 $a http://locator.silo.lib.ia.us/search.cgi?index_0=id&term_0=066072B2FDB011E7BCC604F996128E48Initiate Another SILO Locator Search