Persona and True to life Structure.


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Pictorial: Cinema is the projection of a three dimensional world onto a two dimensional screen. Investigation of the faculties of spatiality and the types of pictures. ...
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Persona and Cinematic Form

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The Esthetic Richness of Cinema I Pictorial: Cinema is the projection of a three dimensional world onto a two dimensional screen. Investigation of the faculties of spatiality and the types of pictures. The extent of the realistic picture is additionally especially vital—changes the impression of confronts, and so on. Likewise different methods of shading versus methods of high contrast. Kinesthetic: Unlike works of art and photos, true to life pictures move . This development happens both by how that which is imagined by the camera moves and by how the camera itself can move as it pictures. Sonic: Cinema presents sounds in a sonic situation. Aleatory, Music, Human Voice Temporal: Not just are true to life pictures spatially alterable additionally transiently so. In silver screen, time can climb or back off. The development inside a scene as well as the development from scene to scene (cutting/montage) is utilized to investigate the faculties of time.

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The Esthetic Richness of Cinema II Narrative: Through altering and talking the scenes of a film orchestrate themselves into an account. (Starting, Middle, End) Dramatic: Characters are carried on in a film—they move and come into associations with each other. Character: Through their activities, characters indicate forward their inward inspirations and natures. Mis-en-scene : Cinematic pictures depict a specific world—the path in which objects and their experiences are assembled for the camera are a urgent part of the style of silver screen. Silver screen can bring out recorded ages or regular districts, also dreamlike states, otherworldly profundities or divided awareness.

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Form versus Content The formal elements of a fine art are the different methods for sorting out, interrelating its being seen such that the recognitions it inspires have an agreeable or noteworthy emotive quality to it. The work is lovely, examining, dazzling, wondrous. The substance includes what it dispassionately depicted or suggested in the formal game plan of a work of art. In awesome workmanship, frame and substance get to be synonymous?

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Two Tendencies in Cinematic Art The Ordinary Real—Cinema records the many-sided quality of subtle elements and the shock and luck of the regular. Illustration: the fluctuated developments and articulations of the players of the court ensemble as they play an arrangement. The glinting of a flame. The Surreal—Cinema offers an alterative reality. We see past what could be found in the regular. Frequently this seeing past puts the feeling of the ordinary fundamentally into inquiry. Illustration: the presence of Colombe\'s dead spouse in the hovel.

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Cinema as an Artistic Medium The glinting of light upon a screen. How the artistic media is NOT oil on canvas or charcol on paper however evavescent. Movies that thematize themselves as a reflection on the medium of film versus movies that don\'t! In what sense is AMW a contemplation upon craftsmanship? On film? Then again on music?

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Form in Cinema—Persona Form as Form Shadow versus Light, Shadow versus Substance, White versus Dark, Foreground versus Foundation, Juxtaposition versus Partition, Right versus Left, Front versus Back, Face versus Faceless, Open versus Shut Gestures, Tiredness versus Alertness, Filmy versus Edged, Silence versus Speaking, Youth versus Experience, Healing versus Disease, Listening versus Tending to, Faithfulness versus Unfaithfulness, Word versus Picture, Innocence versus Lecherousness, Hope versus Gloom, Looking and Being Looked At, Voyeurism versus Cooperation Form as Content Doubled Existence, Ambivalence about What is Real, the Emptiness of Speech and the Fullness of Silence = Growing Feeling of Anxiety and afterward Horror at the Other Occupying One\'s Self

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Questions Persona Provokes How would we know who we are? Also, which who we are?? What is the relationship of the outer universe of regular occasions to the interior universe of dreams, of recollections, of inward voices. How common is workmanship? How unworldly?

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Cinema as a Form of Art

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Cinematic Form in All the Mornings Light versus Dim Stillness versus Movement Everyday Chores versus Thoughtful Art Frumpery versus Modesty Country versus Court Catholic versus Protestant Public versus Private Interior versus Outside Age versus Youth

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Formal Thematic Oppositions in AMW Mastery versus Apprenticeship Male versus Female Father versus Child Teacher versus Understudy Son versus Girl Daughters versus Spouse Music versus Diversion Sacred versus Profane Grandeur versus Closeness

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Esthetic of Grandeur

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Music versus Film in AMW Cinema is both words and a moving picture. In this sense is it both like and dissimilar to music. Like music, silver screen can live absolutely in the picture, in the signals and looks of its members. Film is transient in the way that move and music are, absolutely formal. Like writing, silver screen draws in us in a story and in analysis about the world. Film is fleeting in the way of memory, generous.

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The Temporality of Music and Cinema Music conjures a virtual time inside a real time. The virtual time of music and silver screen is significantly formal. At any given minute we have a feeling of where the time has been and where it will take us. In its formal development, music recommends an emotive structure too. Feeling as "a being moved" [Origin: 1570–80; appar . < MF esmotion , determined on the model of movoir : movement, from esmovoir to set in movement, move the sentiments < VL * exmovére , for L émovére ; see e-, move , movement ]

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Filming Music Scene One: Practicing the Viol in Marais\' Studio Scene Two: An early show of St. Colombe with his two little girls. Scene Three: The "Varieties" by Marais. Scene Four: The music of the court Scene Five: Playing the "Suite pour Madeline" Scene Six: Marais playing at the film\'s completion.

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But Paintings Too, Lubin Baugin St. Colombe keeps a sketch of the table whereupon he puts wine and wafers. Like his music, it is without words. He visits a genuine craftsman, Louis Baugin, the real painter of the picture utilized as a part of the film.

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Lubin Baugin 1610-1663 Master of the still-life Two unmistakable times of work—prior, still life (France); later, religious pictures (Italy) Lived outside of Paris He was transparently required in republishing the books of the experimental specialist, David Laigneau, against phlebotomy. A Protestant, Laigneau had likewise composed a treatise on speculative chemistry. Could an enthusiasm for experimentation and speculative chemistry exist in agreement with customary devotion in 1660? Regardless, it was the indication of a free soul, a receptive outlook, a basic mindfulness.

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Still Life Painting—Painting the Realm of the Dead? " la nature morte " in French While painting "The Five Senses" in AMW , Baugin states: "Passing is the total of what it takes from us." Rather than talking with Baugin, St. Colombe listens to him in the demonstration of his sketch " une nature morte" — to the stirring of his brush strokes.

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"The Five Senses"

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"The Five Senses" au film

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St. Jerome- - Bible Translator

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