Read e-book online Movement as Meaning in Experimental Cinema: The Musical PDF

By Daniel Barnett

Movement as which means in Experimental Cinema deals sweeping and cogent arguments as to why analytic philosophers may still take experimental cinema heavily as a medium for illuminating mechanisms of that means in language. utilizing the analogy of the motion picture projector, Barnett deconstructs all verbal exchange acts into features of period, repetition and context. He describes how Wittgenstein's suggestions of kinfolk resemblance and language video games offer a dynamic standpoint at the research of acts of reference. He then develops a hyper-simplified formulation of stream as aspiring to speak about, with real equivalence, the method of reference because it happens in normal language, technical language, poetic language, portray, images, tune, and naturally, cinema. Barnett then applies his analytic strategy to an unique standpoint on cine-poetics in response to Paul Valery's notion of omnivalence, and to a projection of the way this sort of research, derived from analog cinema, will help us make clear our view of the electronic mediasphere and its relation to attention. knowledgeable by way of the philosophy of Quine, Dennett, Merleau-Ponty in addition to the later paintings of Wittgenstein, between others, he makes use of the movie paintings 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 demonstrate the ability of his designated point of view on meaning.

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Movement as Meaning in Experimental Cinema: The Musical Poetry of Motion Pictures Revisited by Daniel Barnett

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