| spelling |
oapen-20.500.12657-296882021-11-12T16:14:05Z Lessons in Perception Taberham, Paul Arts cognitive humanities avant-garde cinema psychology Limousin dialect Stan Brakhage Synesthesia bic Book Industry Communication::A The arts::AP Film, TV & radio::APF Films, cinema::APFA Film theory & criticism Lessons in Perception seeks to clarify notoriously elusive themes of the avant-garde with the use of existing research from the field of psychology. There is a long-standing history of reference to psychological concepts in relation to avant-garde film, such as its unique relationship to memory, visual perception, narrative comprehension, and synesthesia. Yet direct analysis of these topics in light of existing psychological research remains largely unexplored until now. More broadly, the aim of the book is to frame avant-garde filmmaking practice as a form of "practical psychology." In doing so, two principal arguments are proposed: first, that many avant-garde filmmakers draw creative inspiration from their own cognitive and perceptual capacities, and touch on topics explored by actual psychologists; secondly, that as practical psychologists, avant-garde filmmakers provide “lessons in perception” that offer psychological experiences that are largely unrehearsed in commercial cinema. 2018-07-10 23:55 2020-03-20 03:00:28 2020-04-01T12:35:48Z 2020-04-01T12:35:48Z 2018-06-01 book 1000257 OCN: 1047731642 9781785336423 http://library.oapen.org/handle/20.500.12657/29688 eng application/pdf n/a 1000257.pdf Berghahn Books 10.2307/j.ctv3znzvc 101570 10.2307/j.ctv3znzvc 562fcfcf-0356-4c23-869a-acb39d8c84b5 b818ba9d-2dd9-4fd7-a364-7f305aef7ee9 9781785336423 Knowledge Unlatched (KU) 101570 KU Select 2017: Front list Collection Knowledge Unlatched open access
|
| description |
Lessons in Perception seeks to clarify notoriously elusive themes of the avant-garde with the use of existing research from the field of psychology. There is a long-standing history of reference to psychological concepts in relation to avant-garde film, such as its unique relationship to memory, visual perception, narrative comprehension, and synesthesia. Yet direct analysis of these topics in light of existing psychological research remains largely unexplored until now. More broadly, the aim of the book is to frame avant-garde filmmaking practice as a form of "practical psychology." In doing so, two principal arguments are proposed: first, that many avant-garde filmmakers draw creative inspiration from their own cognitive and perceptual capacities, and touch on topics explored by actual psychologists; secondly, that as practical psychologists, avant-garde filmmakers provide “lessons in perception” that offer psychological experiences that are largely unrehearsed in commercial cinema.
|
