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Taberham

Lessons in Perception

The Avant-Garde Filmmaker as Practical Psychologist

Medium: Buch
ISBN: 978-1-78533-641-6
Verlag: Berghahn Books
Erscheinungstermin: 19.06.2018
Lieferfrist: bis zu 10 Tage

Narrative comprehension, memory, motion, depth perception, synesthesia, hallucination, and dreaming have long been objects of fascination for cognitive psychologists. They have also been among the most potent sources of creative inspiration for experimental filmmakers. Lessons in Perception melds film theory and cognitive science in a stimulating investigation of the work of iconic experimental artists such as Stan Brakhage, Robert Breer, Maya Deren, and Jordan Belson. In illustrating how avant-garde filmmakers draw from their own mental and perceptual capacities, author Paul Taberham offers a compelling account of how their works expand the spectator’s range of aesthetic sensitivities and open creative vistas uncharted by commercial cinema.


Produkteigenschaften


  • Artikelnummer: 9781785336416
  • Medium: Buch
  • ISBN: 978-1-78533-641-6
  • Verlag: Berghahn Books
  • Erscheinungstermin: 19.06.2018
  • Sprache(n): Englisch
  • Auflage: 1. Auflage 2018
  • Produktform: Gebunden, HC gerader Rücken kaschiert
  • Gewicht: 485 g
  • Seiten: 226
  • Format (B x H x T): 157 x 235 x 17 mm
  • Ausgabetyp: Kein, Unbekannt
Autoren/Hrsg.

Autoren

Paul Taberham is Senior Lecturer in Animation Studies at the Arts University Bournemouth. He is the coeditor of Cognitive Media Theory (2014) and The New Experimental Animation: From Analogue to Digital (2018). Paul has appeared on radio, spoken internationally at conferences, and published articles for several edited collections and journals including Projections: The Journal for Movies and Mind and Animation Journal. He is a fellow of The Society for Cognitive Studies of the Moving Image.

List of Illustrations
Acknowledgements Introduction PART I: COGNITION Chapter 1.The Specter of Narrative
Chapter 2. Ghost Films of the Avant-Garde PART II: VISUAL PERCEPTION Chapter 3. Bottom Up Processing, Entoptic Vision and the Innocent Eye in the Films of Stan Brakhage
Chapter 4. Robert Breer and the Dialectic of Eye and Camera PART III: AUDIO-VISUAL PERCEPTION Chapter 5. Synaesthetic Film Reconsidered
Chapter 6. Three Dimensions of Visual Music Conclusion Bibliography