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Lessons in Perception
The Avant-Garde Filmmaker as Practical Psychologist
Full Text Made available under a CC BY-NC-ND 4.0 license with support from Knowledge Unlatched.
226 pages, 25 illus., bibliog., index
ISBN 978-1-78533-641-6 $120.00/£85.00 Hb Published (June 2018)
“This lucid, informative text allows readers to consider the ongoing relevance of—and perhaps the need for—avant-garde filmmaking in a world driven increasingly by the economic demands of mainstream spectacle.” • William Brown, University of Roehampton
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.
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.
Subject: Film Studies Media Studies
Lessons in Perception by Paul Taberham is available open access under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0) with support from Knowledge Unlatched.
OA ISBN: 978-1-78533-642-3
List of Illustrations
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
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