Includes bibliographical references and index. Includes filmography.
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 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.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.