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001			BRILL9789401205740
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005			20260610104819.0
007			cr un uuuua
008			080418s2008 ne a sbq 001 0 eng d
020			_a9789401205740 _q(electronic book)
020			_z9789042023857 _q(print)
024	7		_a10.1163/9789401205740 _2DOI
035			_a(OCoLC)225819772
040			_aNL-LeKB _cNL-LeKB _erda
050		4	_aPN1995.9.E96 _bB36 2008
072		7	_aGT _2bicssc
072		7	_aPOL000000 _2bisacsh
082	0	4	_a791
100	1		_aBarnett, Daniel.
245	1	0	_aMovement as meaning : _bin experimental film / _cDaniel Barnett.
264		1	_aAmsterdam ; _aNew York, NY : _bRodopi, _c2008.
300			_a1 online resource (iv, 224 pages) : _billustrations.
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _2rdacarrier
490	1		_aConsciousness, literature & the arts ; _v13
504			_aIncludes filmography.
504			_aIncludes bibliographical references (pages 197-200) and index.
505	0	0	_aPreliminary Material -- Two pictures of a rose in the dark -- Modes of Perception and Modes of Expression -- Dynamic And Syntactic Universals -- The Moving Target -- Appendix A -- Acknowledgements -- Bibliography -- Filmography -- Index.
506			_aAvailable to subscribing member institutions only.
520			_aThis book 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. He then develops a hyper-simplified formula of movement as meaning to discuss, with true equivalence, the process of reference as it occurs in natural language, technical language, poetic language, painting, photography, music, and of course, cinema. Barnett then applies his analytic technique to an original perspective on cine-poetics based on Paul Valery’s concept of omnivalence, and to a projection of how this style of analysis, derived from analog cinema, can help us clarify our view of the digital mediasphere and its relation to consciousness. Informed by the philosophy of Quine, Dennett, Merleau-Ponty as well as the later work of Wittgenstein, among others, he uses the film work of Stan Brakhage, Tony Conrad, A.K. Dewdney, Nathaniel Dorsky, Ken Jacobs, Owen Land, Saul Levine, Gregory Markopoulos Michael Snow, and the poetry of Basho, John Cage, John Cayley and Paul Valery to illustrate the power of his unique perspective on meaning.
650		0	_aExperimental films _xHistory and criticism.
650		7	_aExperimental films. _2fast
655		7	_aExperimental films. _2fast
655		7	_aCriticism, interpretation, etc. _2fast
776	0	8	_iPrint version: _tMovement as Meaning in Experimental Film _dLeiden, Boston : Brill | Rodopi, 2008, _z9789042023857
830		0	_aConsciousness, Literature and the Arts _v13.
830		0	_aLiterature and Cultural Studies E-Books Online, Collection 2008, ISBN: 9789004357952.
856	4		_zDOI: _uhttp://dx.doi.org/10.1163/9789401205740
999			_c14125 _d14125