Foreword: Where does this book belong? Preface: Arriving at the scene Introduction: Two pictures of a rose in the dark Part I: Modes of Perception and Modes of Expression 1. First ideas in a new medium: the cinematic suspension of disbelief 2. One description of how the mind may move toward understandings 3. New paradigms and new expressions 4. Theories of meaning - media, messages and how the mind moves 5. The relevance of the mechanism - lessons to carry forward from an already obsolete medium 6. Frames vs. shots, surface vs.
window 7. What the surface of the screen can tell us about language 8. Language integrates our perceptions as surely as the nervous system integrates our sense data - hallucination or metadata? 9. Letting the mind surround an idea: an introduction to Wittgenstein 10. Ascertaining understanding: What one language must evoke, another may stipulate (and vice versa). 11. Dynamic and static theories of meaning 12. Color, types of reference and the inveterate narrative 13.
The polyvalence of the picture 14. Meaning and mutual experience - kinds of reference re-described 15. What has art got to do with it? 16. A whole new way of reading - the surface of the screen and the modulation of self-consciousness 17. The anteroom of meaning and our conception of space 18. Meaning and mental habits 19. Assumed and earned meaning 20. The spectrum of shared reference 21.
The story sequence and the montage - prologue 22. When the editor learns about meaning 23. Montage and metaphor. 24. The imitation of perception Part II: Dynamic and Syntactic Universals 25. Non-Verbal Universals 26. The polyvalence of the picture and the omnivalence of the movie 27. The description of omnivalence as a floating target 28.
Dynamic universals: beginning, middle and end -a prologue 29. Language and the momentum of the body 30. Syntactic universals: interval, context and repetition 31. The synergy of symmetry 32. Sidebar - another parallel model and another speculative future 33. Formal references in music and cinema 34. The developmental leap - keeping the referent a mystery 35. Resemblance and resonance 36.
The subliminal pull of the flicker 37. Aural and visual cadence 38. The frame of the experience 39. Resonance among frames 40. Ancient history - the medium as the model 41. Illustration, induction and repetition 42. The material and the medium 43. Sonics and seamlessness 44.
The private language machine and the evolution of a medium 45. Illusions and ontological linchpins 46. Delimiting an audience 47. Summarizing the singular window enroute to the panoramic view Part III: Considering Description 48. The world of description 49. Recapitulation and prospectus 50. Shades of meaning - another perspective on perspective 51. Yet another perspective on perspective: metaphors, images and pictures: the linguistic hall of mirrors 52.
Metaphor, image and brain 53. Words are generated; image streams are wrought 54. The metrics of vectors and resonances 55. Two pictures of a nose in the dark 56. An Obligatory sidebar on Eisenstein meets a structural allegory 57. Hearing the image and the inherent omnivalence of music 58. The organization of space in a model built for sound 59. The category across modalities 60.
Similar to vs. same as - periodicity and category 61. Description, Allegory, the Heuristic Dialectic and a short bridge to the future. Part IV: The Moving Target 62. Digital ubiquity - the memosphere & the mediasphere 63. Compression and consciousness 64. What Medium? 65. Indeterminacy of translation revisited and context reconsidered 66.
The reconfigured attention span 67. The synergy of the media sphere 68. The search engine, the barker and the editor-in-chief 69. A sidebar on consciousness 70. So, where is the screen? 71. The moving meaning metaphor 72. Working the method 73. From the grain to the pixel 74.
beyond the pixel - an overview 75. A fond adieu APPENDIX A: The Paillard Bolex Movie Camera and the J-K optical printer Acknowledgements Bibliography Filmography Index.