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

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.

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