Tarkovsky's Cinema
To begin, Tarkovsky’s cinema is not about historical realism or exposing the everyday as it really is. Cinema is unavoidably an especially paranoid representation of experience. Sculpture hewn in time resembles everyday events no more than wood sculpture does stumps. What makes Tarkovsky interesting might be gotten at in terms of doors and windows. Dalle Vacche[1] approaches the array of moments and differences in the style:
Tarkovsky’s refusal to attach these faces to a situation, to a decision, or to an exchange of looks with another character makes these anonymous and minor figures especially elusive. Yet their impact is undeniably strong. It is as if the viewer’s mind, unable to read the characters’ eyes, turns away from the distractions of the world towards deeper and unspeakable regions, thus reacting in a way comparable to the beholder of a holy face in an icon. (143)
Whether Andrei Rublev (Andrei Tarkovsky 1966/1969) ‘accurately’ or precisely reveals the reality of life in the 15th century has nothing to do with any actual audiences’ reactions to the film as experience. Instead, what we can feel is the becoming of the experienced world into distraction from something else. As a spotlight, for its intensity, might remind us what is outside its beam, the sprawling and unlimited earthly world of the film points to something outside the widescreen frame. The film makes itself a diversion from something that had equally not existed before the image began moving – or had it existed? The movie is enough to send audiences fleeing to god. And is, in this manner, a proof of god much like Pavel Florensky’s by iconography: “There exists the icon of the Holy Trinity by St. Andrei Rublev; therefor...
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...ut-for-a-good-time watcher, but a door for the divine content of the experience to enter the viewer. Not much earthly made an impression surely, but then the movie also dances not just with a dichotomy of earthly and divine but also to summon it. Where many films lace images, objects, characters or voices with divinity, Andrei Rublev cuts all this clean off and paints God over it.
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[1] Angela Dalle Vacche, “Andrei Tarkovsky’s Andrei Rublev: Cinema as the
Restoration of Icon Painting,” Cinema and Painting: How Art Is Used in
Film (London: Athlone, 1996) 135-160.
[2] Pavel Florensky, Iconostasis (Crestwood, NY: St Vladimir’s Seminary
Press, 1996). 68
[3] Pavel Florensky, “Reverse Perspective,” Beyond Vision: Essays on the
Perception of Art (2003). 201-272
...avic conversion from paganism to Christianity, stressing the prominence of aestheticism in ritual, and validating the adoption of Christianity we are able to come to the conclusion that Vladimir’s successes in altering the Slavs to Eastern Orthodoxy. “Vladimir Christianizes Russia” effectively illuminates the supposedly positive sentiments felt towards the Slavic Christianization. This tale allows for the reader to see the glorification of Vladimir’s grand triumph in choosing Eastern Orthodoxy and delivering the Slavs to redemption. The success in demonstrating Vladimir’s achievement in delivering Russia to salvation allows for us to comprehend the importance of Christianity in the culture of Russia.
Researchers, however, have found that gaming may not be completely bad for adolescents. A recent study by Paul J.C. Adachi and Teena Willoughby points out that video gaming may satisfy the same criteria for positive youth development as traditional organized activities such as sports, music or clubs. In direct contrast to this analogy, they demonstrate that there may be significant social benefits of gaming, that adolescents are motivated to play video games and that this type of play requires concentration and mental effort (Adachi and
In society we are surrounded by images, immersed in a visual world with symbols and meaning created through traditional literary devices, but augmented with the influence of graphics, words, positioning and colour. The images of Peter Goldsworthy’s novel, Maestro (1989) move within these diameters and in many ways the visions of Ivan Sen’s film Beneath Clouds (2002) linger in the same way. Both these texts explore themes of appearance versus reality and influence of setting, by evoking emotion in the responder through their distinctively visual elements.
The first way that Herzog’s film could be considered good art is that it balances the mean between form and function. Without a doubt, the composition and mise-en-sence of this film has elegant form and beauty. Yet, unlike some artistic films I have seen, this the film’s mise-en-sence and filming techniques not only have beautiful form, but function to enhance the overall function of storytelling as well. The mise-en-sence is well ordered and follows the proportions as represented by the rule of thirds. Herzog elegantly balances beauty and form with a functional and interesting plot that keeps the audience engaged in the film. Furthermore, Hertzog’s film never forgets its purpose or aim that it is being directed to. The primary purpose of this film is to build empathy for the characters that we might ask ourselves, “what would we do in such a situation?” The subordinate arts of this film (lighting, scene composition, make-up, costuming etc.) do not detract from its definite purpose, but rather they elevate the chief theme and purpose of this film. Finally, this film is extremely symmetrical. Not only in the individual shots, but in symmetry can be found in the plot structure as discussed in my interpretive analysis
Beginning with the artist’s choice of compositional materials and painting technique. Pellegrini’s materials consist of oil and canvas. The artist’s choice of oil allows for a fluid and condensed stoke of paint. The brush strokes are broad and soft as they conform to the shape of the clouds or contours bodies creating direction and flow. The paint strokes are uniformed in size and circular shape. The paint is not impasto but instead smooth and brushed flatly on the canvas.
... games do have an important and distinct impact on the psychological development of children. Some of the positive effects of social, educational, cognitive, and physical uptake are substantial and far outweigh the occasional negative showing of aggression and lethargic behavior. As with all things, the situation and content should always be considered, especially in the developing stages of young minds. With the landscape of the video game industry changing year-by-year, there are constantly more dimensions of this puzzle needing to be assessed. However, there has already been a shift in their potential effects even as recently as the past 10 years. With more research in this field, we can start to note trends (relative to sex and age) and begin to create and environment where children enjoy the process of growing up while developing good health and social habits.
The first video game arrived on the scene in the 1950’s. It began as a rather simplistic form of entertainment including games like “Tennis for Two” and “Ping Pong”. Fast forward 50 years later and current games advanced extremely beyond the basic oscilloscope. Developed animations have lifelike characteristics; some even mimic the movement of the player’s body. Video games have evolved and with evolution come many concerns about its sometimes violent and immoral contents. This presentation serves to educate whether video games have a negative effect on the behavior of youth. We will highlight both negative and positive aspects of the practice and use statistics to help you make an inform decisions when selecting games for loved ones.
Adachi, Paul J.C. and Willoughby, Teena. “Do Video Games Promote Positive Youth Development?” Journal of Adolescent Research 28.2 (2012): 155-165. Web. 12
In The Sacred & The Profane: A Nature of Religion, Mircea Eliade attempts to define the sacred by stating it is “the opposite of the profane” (pg. 10). Through out the book he tries to explain this statement through the concept of hierophany (the idea that one can experience, sensorily, the manifestation of the holy/sacred), however his main explanation of the sacred being “the opposite of the profane” is the comparison of a modern religious man and a modern non-religious man (a profane man). Eliade compares the two by explaining how each would react to space, time, nature, and life. This essay will explain the idea of sacred space, how a religious and a profane man would experience it, and how the idea of sacred space might be applied to the study of medieval art and architecture.
This essay will attempt to prove, that statements made regarding the inappropriateness of video games are untrue. The advantage of playing video games can be proven in their ability to enhance learning, hand-eye coordination, and this in turn can enable children and teenagers to do better in school. Violent video games can help overcome anxiety by providing entertainment without leaving the house, taking everyday stresses out on the characters in the game instead of real life, takes the adolescent’s minds off worries and stress of the outside world, and encourages children to stay out of trouble. Video games c...
The “New Ireland” emerged in the 1990s’ when the country experienced an economic-cultural boom in which it was transformed from one of Europe's poorer countries into one of its wealthiest.
One of the most important areas that video games benefit is cognition, which is how people process and receive knowledge. Video games improve problem-solving abilities (Granic, Label and Engels 4). Additionally, they augment spatial working memory and visual search abilities (Oei and Patterson 13). Experience video gamers have developed adept behaviors such as problem perception and self-observance (Hayes and Silberman 19). Furthermore, video games have different beneficial effects on cognition depending on what type of games they are (Oei and Patterson 15). Puzzle games, such as Tetris, help improve people’s mental rotation skills (Oei and Patterson 1). Action video games...
In the presented essay I will compare the style of work of selected artists in the montage of the film. I will try to point out some general regularities and features of Soviet cinema. At the same time I will try to capture especially what is common in their systems and similar or conversely what differ. For my analysis, I will draw on the feature films of the Soviet avantgarde, namely these are the movies - The Battleship Potemkin (S. Eisenstein, 1925), Mother (V. Pudovkin, 1926) and The Man with a movie camera (D. Vertov, 1929).
Since the Early 70’s video games have been giving a bad name. Parents state that video games rot the minds of children and are influencing them do be violent. These accusations are far from the truth. In my research I found that there are many positive effects of gaming. Some of these effects are increased skills, creativity, general knowledge, and also help those in need. Parents can also take proper precautions and look into a game before buying it to see if it meets the criteria discussed in this paper.
...both suggested that lighting and the style of chiaroscuro is probably the single most important element of cinematic Expressionism. However Dietrich Scheunemann disagrees claiming that many of the first films to claim to be expressionist pieces are simply not, and no amount of lighting will make them so. Scheunemann criticises the cinematography of the film 'The Cabinet of Dr.Caligari' stating that it is distinctively unimpressive He instead suggests that it is through the curved walls, oblique windows, slanting doors and strange radical patterns on the floor that the film establishes it's nightmarish atmosphere. In light of Schunemann's views on the visual representation of Expressionism, I hope to analyse the impact Expressionism had on other genres and how contemporary filmmaker Tim Burton has evolved these visual techniques to relate to a modern day audience.