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.
It draws together cognitive film theory and avant-garde film theory.
It is written in an intentionally accessible way.
Particular films are analysed which haven’t been explored elsewhere. It also features (I think) the most detailed analysis of Robert Breer’s aesthetic to date.
Themes that have been mentioned in passing in texts on experimental film (such as narrative, memory, visual perception and synaesthesia) are addressed directly in detail.
"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
"?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
