Making Images Move reveals a new history of cinema by uncovering its connections to other media and art forms. In this richly illustrated volume, Gregory Zinman explores how moving-image artists who worked in experimental film pushed the medium toward abstraction through a number of unconventional filmmaking practices, including painting and scratching directly on the film strip; deteriorating film with water, dirt, and bleach; and applying materials such as paper and glue. This book provides a comprehensive history of this tradition of “handmade cinema” from the early twentieth century to the present, opening up new conversations about the production, meaning, and significance of the moving image. From painted film to kinetic art, and from psychedelic light shows to video synthesis, Gregory Zinman recovers the range of forms, tools, and intentions that make up cinema’s shadow history, deepening awareness of the intersection of art and media in the twentieth century, and anticipating what is to come.

This book presents an ecophilosophy of cinema: an account of the moving image in relation to the lived ecologies – material, social, and perceptual relations – within which movies are produced, consumed, and incorporated into cultural life. If cinema takes us on mental and emotional journeys, the author argues that those journeys that have reshaped our understanding of ourselves, life, and the Earth and universe. A range of styles are examined, from ethnographic and wildlife documentaries, westerns and road movies, sci-fi blockbusters and eco-disaster films to the experimental and art films of Tarkovsky, Herzog, Malick, and Brakhage, to YouTube’s expanding audio-visual universe.

This book shows how and why debates in the philosophy of film can be advanced through the study of the role of images in Plato’s dialogues, and, conversely, why Plato studies stands to benefit from a consideration of recent debates in the philosophy of film. Contributions range from a reading of Phaedo as a ghost story to thinking about climate change documentaries through Plato’s account of pleonexia. They suggest how philosophical aesthetics can be reoriented by attending anew to Plato’s deployment of images, particularly images that move. They also show how Plato’s deployment of images is integral to his practice as a literary artist. Contributors are Shai Biderman, David Calhoun, Michael Forest, Jorge Tomas Garcia, Abraham Jacob Greenstine, Paul A. Kottman, Danielle A. Layne, David McNeill, Erik W. Schmidt, Timothy Secret, Adrian Switzer, and Michael Weinman.

Blending unconventional film theory with nontraditional psychology to provide a radically different set of critical methods and propositions about cinema, Moving Image Theory: Ecological Considerations looks at film through its communication properties rather than its social or political implications. Drawing on the tenets of James J. Gibson’s ecological theory of visual perception, the fifteen essays and forty-one illustrations gathered here by editors Joseph D. Anderson and Barbara Fisher Anderson offer a new understanding of how moving images are seen and understood. Focusing on a more straightforward perception of the world and cinema in an attempt to move film theory closer to reality, Moving Image Theory proposes that we should first understand how cinema communicates information about the representation of the three-dimensional world through properties of image and sound.

This book explores the relationship between tourism and the moving image, from the early era of silent moving pictures through to cinema as mass entertainment. It examines how our active and emotional engagement with moving images provides meaning and connection to a place that can affect our decision-making when we travel. It also analyses how our touristic experiences can inform our film-viewing. A range of genres and themes are studied including the significance of the western, espionage, road and gangster movies, along with further study of film studio theme parks and an introduction to the relationship between gaming and travel. This book will appeal to tourism scholars as well as film studies professionals, and is written in an accessible manner for a general audience.

This handbook brings together essays in the philosophy of film and motion pictures from authorities across the spectrum. It boasts contributions from philosophers and film theorists alike, with many essays employing pluralist approaches to this interdisciplinary subject. Core areas treated include film ontology, film structure, psychology, authorship, narrative, and viewer emotion. Emerging areas of interest, including virtual reality, video games, and nonfictional and autobiographical film also have dedicated chapters. Other areas of focus include the film medium’s intersection with contemporary social issues, film’s kinship to other art forms, and the influence of historically seminal schools of thought in the philosophy of film. Of emphasis in many of the essays is the relationship and overlap of analytic and continental perspectives in this subject.

This book maps the presence of moving images within the field of public art through encounters with passersby. It argues that far from mere distraction or spectacle, moving images can produce moments of enchantment that can renew, intensify, or challenge our everyday engagement with public space and each other. These artworks also offer frameworks for understanding how moving images operate in public space—how they move viewers and reconfigure the site of the screen. Each chapter explores a mode of address that examines how artists and curators leverage the moving image’s attentional power to engage audiences, create spaces, make place, and challenge assumptions. This book also examines the difficulties and compromises that arise when using urban screens for public art.

Because of the ease with which we perceive, many people see perception as something that "just happens." However, even seemingly simple perceptual experiences involve complex underlying mechanisms, which are often hidden from our conscious experience. These mechanisms are being investigated by researchers and theorists in fields such as psychology, cognitive science, neuroscience, computer science, and philosophy. A few examples of the questions posed by these investigations are, What do infants perceive? How does perception develop? What do perceptual disorders reveal about normal functioning? How can information from one sense, such as hearing, be affected by information from another sense, such as vision? How is the information from all of our senses combined to result in our perception of a coherent environment? What are some practical outcomes of basic research in perception? These are just a few of the questions this encyclopedia will consider, as it presents a comprehensive overview of the field of perception for students, researchers, and professionals in psychology, the cognitive sciences, neuroscience, and related medical disciplines such as neurology and ophthalmology.

Apple's Aperture software is a post-production tool designed to allow digital photographers to import, manage and enhance photographs in one simple, integrated workflow. Aperture 2, the recently updated version of the software, includes more than 100 new features for photo management and image processing, and this much-needed guide takes you through the tools and knowledge necessary to get up-and-running fast. Unlike other software books on the market, Apple Aperture 2 looks at this powerful application in the context of the overall digital photography workflow, helping you to use your time efficiently and enhance your creativity. The book includes clear explanations and step-by-step guidance on how to import, sort and navigate thousands of raw files like a pro; how to view and compare images to make selections quickly; how to turn good photos into beautiful images with adjustment tools; and how to export, showcase and print your best work with high quality results.

Theories and practical skills for use in optical shops are presented in this rate training manual, prepared for regular navy and naval reserve personnel. Light theories are analyzed in connection with mirrors, prisms, lenses, and basic optical systems. Following fundamentals of mechanical design and construction, maintenance procedures are studied to give a general knowledge of optical repair. Special descriptions are made of such instruments as spyglasses, telescopes, magnetic compasses, azimuth and bearing circles, sextants, stadimeters, telescopic alidades, binoculars, submarine periscopes, and night vision sights. To give enough background for readers, operations of lathes, grinders, milling machines, and drill presses are also discussed. Besides illustrations for explanation purposes, information on the opticalman rating structure is also provided.