Lessons in Perception

Paul Taberham is Associate Professor 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.

• List of IllustrationsAcknowledgementsIntroductionPART I: COGNITIONChapter 1. The Specter of NarrativeChapter 2. Ghost Films of the Avant-GardePART II: VISUAL PERCEPTIONChapter 3. Bottom Up Processing, Entoptic Vision and the Innocent Eye in the Films of Stan BrakhageChapter 4. Robert Breer and the Dialectic of Eye and CameraPART III: AUDIO-VISUAL PERCEPTIONChapter 5. Synaesthetic Film ReconsideredChapter 6. Three Dimensions of Visual MusicConclusionBibliography

“This intense, compact book examines avant-garde and experimental film in an entirely new light…Armed with an authoritative grasp of the subject matter and aided by numerous frame grabs throughout the volume, Taberham …[offers] something new: an exploration into the psychological terrain of the cinematic avant-garde, demonstrating how it completely abrogates the conventions of commercial cinema…Highly Recommended.” • Choice“The author’s desire to synthesize experimental artwork with psychology yields some fascinating insights and will hopefully inspire similar analyses of other avant-garde films.” • FilmInt“…precisely constructed, and effortlessly written… a very teachable book. Taberham has written an accessible and brilliant text, which can foster interest and passion for theory in others. And in this sense, LIP makes for an ideal source for satisfying a variety of curricular purposes from film theory courses, to courses on the history and theory of avant-garde and experimental cinema, to methodologies of film analysis. LIP is not only, then, a solid, intriguingly uncommon, and welcome new work in cognitive film theory; it is also a versatile and flexible pedagogical tool, which could successfully enrich, if properly framed, students’ experiences in film studies.” • Projections“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