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Bringing together the expertise of world-leading screenwriters and
scholars, this book offers a comprehensive overview of how screen
narratives work. Exploring a variety of mediums including feature
films, television, animation, and video games, the volume provides
a contextual overview of the form and applies this to the practice
of screenwriting. Featuring over 20 contributions, the volume
surveys the art of screen narrative, and allows students and
screenwriters to draw on crucial insights to further improve their
screenwriting craft. Editors Paul Taberham and Catalina Iricinschi
have curated a volume that spans a range of disciplines including
screenwriting, film theory, philosophy and psychology with
experience and expertise in storytelling, modern blockbusters,
puzzle films and art cinema. Screenwriters interviewed include:
Josh Weinstein (The Simpsons, Gravity Falls), David Greenberg
(Stomping Ground, Used to Love Her), Evan Skolnick and Ioana
Uricaru. Ideal for students of Screenwriting and Screen Narrative
as well as aspiring screenwriters wanting to provide theoretical
context to their craft.
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.
Bringing together the expertise of world-leading screenwriters and
scholars, this book offers a comprehensive overview of how screen
narratives work. Exploring a variety of mediums including feature
films, television, animation, and video games, the volume provides
a contextual overview of the form and applies this to the practice
of screenwriting. Featuring over 20 contributions, the volume
surveys the art of screen narrative, and allows students and
screenwriters to draw on crucial insights to further improve their
screenwriting craft. Editors Paul Taberham and Catalina Iricinschi
have curated a volume that spans a range of disciplines including
screenwriting, film theory, philosophy and psychology with
experience and expertise in storytelling, modern blockbusters,
puzzle films and art cinema. Screenwriters interviewed include:
Josh Weinstein (The Simpsons, Gravity Falls), David Greenberg
(Stomping Ground, Used to Love Her), Evan Skolnick and Ioana
Uricaru. Ideal for students of Screenwriting and Screen Narrative
as well as aspiring screenwriters wanting to provide theoretical
context to their craft.
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.
Across the academy, scholars are debating the question of what
bearing scientific inquiry has upon the humanities. The latest
addition to the AFI Film Readers series, Cognitive Media Theory
takes up this question in the context of film and media studies.
This collection of essays by internationally recognized researchers
in film and media studies, psychology, and philosophy offers film
and media scholars and advanced students an introduction to
contemporary cognitive media theory-an approach to the study of
diverse media forms and content that draws upon both the methods
and explanations of the sciences and the humanities. Exploring
topics that range from color perception to the moral appraisal of
characters to our interactive engagement with videogames, Cognitive
Media Theory showcases the richness and diversity of cognitivist
research. This volume will be of interest not only to students and
scholars of film and media, but to anyone interested in the
possibility of a productive relationship between the sciences and
humanities.
Across the academy, scholars are debating the question of what
bearing scientific inquiry has upon the humanities. The latest
addition to the AFI Film Readers series, Cognitive Media Theory
takes up this question in the context of film and media studies.
This collection of essays by internationally recognized researchers
in film and media studies, psychology, and philosophy offers film
and media scholars and advanced students an introduction to
contemporary cognitive media theory-an approach to the study of
diverse media forms and content that draws upon both the methods
and explanations of the sciences and the humanities. Exploring
topics that range from color perception to the moral appraisal of
characters to our interactive engagement with videogames, Cognitive
Media Theory showcases the richness and diversity of cognitivist
research. This volume will be of interest not only to students and
scholars of film and media, but to anyone interested in the
possibility of a productive relationship between the sciences and
humanities.
Experimental Animation: From Analogue to Digital, focuses on both
experimental animation's deep roots in the twentieth century, and
its current position in the twenty-first century media landscape.
Each chapter incorporates a variety of theoretical lenses,
including historical, materialist, phenomenological and scientific
perspectives. Acknowledging that process is a fundamental operation
underlining experimental practice, the book includes not only
chapters by international academics, but also interviews with
well-known experimental animation practitioners such as William
Kentridge, Jodie Mack, Larry Cuba, Martha Colburn and Max Hattler.
These interviews document both their creative process and thoughts
about experimental animation's ontology to give readers insight
into contemporary practice. Global in its scope, the book features
and discusses lesser known practitioners and unique case studies,
offering both undergraduate and graduate students a collection of
valuable contributions to film and animation studies.
Experimental Animation: From Analogue to Digital, focuses on both
experimental animation's deep roots in the twentieth century, and
its current position in the twenty-first century media landscape.
Each chapter incorporates a variety of theoretical lenses,
including historical, materialist, phenomenological and scientific
perspectives. Acknowledging that process is a fundamental operation
underlining experimental practice, the book includes not only
chapters by international academics, but also interviews with
well-known experimental animation practitioners such as William
Kentridge, Jodie Mack, Larry Cuba, Martha Colburn and Max Hattler.
These interviews document both their creative process and thoughts
about experimental animation's ontology to give readers insight
into contemporary practice. Global in its scope, the book features
and discusses lesser known practitioners and unique case studies,
offering both undergraduate and graduate students a collection of
valuable contributions to film and animation studies.
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