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Lessons in Perception
The Avant-Garde Filmmaker as Practical Psychologist
236 pages, 25 illus., bibliog., index
ISBN 978-1-78533-641-6 $120.00/£85.00 Hb Not Yet Published (April 2018)
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 for how their works expand the range of aesthetic sensitivity 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 has 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: The Avant-Garde Filmmaker as Practical Psychologist by Paul Taberham is available open access under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License (CC BY-NC-ND 4.0).
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
Chapter 4. Robert Breer and the Dialectic of Eye and Camera
PART III: AUDIO-VISUAL PERCEPTION
Chapter 5. Synesthetic Film Reconsidered
Chapter 6. Three Dimensions of Visual Music
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