Movement as Meaning in Experimental Cinema offers sweeping and cogent arguments as to why analytic philosophers should take experimental cinema seriously as a medium for illuminating mechanisms of meaning in language. Using the analogy of the movie projector, Barnett deconstructs all communication acts into functions of interval, repetition and context. He describes how Wittgenstein's concepts of family resemblance and language games provide a dynamic perspective on the analysis of acts of reference.

In a career spanning five decades, Robert Beavers has distinguished himself as one of the most important American avant-garde filmmakers. From My Hand Outstretched to the Winged Distance and Sightless Measure, his cycle of 18 films made across Europe since 1967, to Pitcher of Colored Light (2007) and The Suppliant (2010), intimate portraits shot in the U.S., Beavers has produced a deeply original film language framed by his use of colored filters and mattes.