Land In Angiush Essay

In today’s society, we are constantly being bombarded with visual art forms. Whether they be classical paintings from the Renaissance, a towering and modern skyscraper, or even a cheesy 90’s R&B music video, they all have one thing in common. According to Carolyn Dean’s definition, these would all fall under the category of “art by intention.” In her essay “The Trouble with (The Term) Art” she advocates a distinction between art by intention and what she deems “art by appropriation.” The difference is that one work was created with the intention of being consumed for visual pleasure, while the other was not. However having been educated in the Western school of thought, many art historians cannot help but project their rigid definition of art onto civilizations that may have

David Bordwell wrote his article ‘The Art Cinema as a Mode of Film’ in an effort to convey the main idea that “art cinema” can be considered as a distinct mode of film practice, through its definite historical existence alongside other cinematic modes, set of formal conventions, and implicit viewing procedures. Rather than searching for the source of the art, or what drives the art in film, Bordwell compares art cinema to the classical narrative cinema, and highlights the differences in narrative structure. Bordwell makes the assumption that it defined itself against the classical narrative mode; especially with the way it deals with space, time, and the cause and effect link of events.

In Jean-Louis Comolli and Jean Narboni’s essay “Cinema/Ideology/Criticism,” they put forward the central argument that film is a commercial product in the capitalist system and therefore also the unconscious instrument of the dominant ideology which produces it. In opposition to the classic film theory that applauds camera as an impartial device to reproduce reality, they argue that what the camera reproduces is merely a refraction of the prevailing ideology. Therefore, the primary and political task for filmmakers is to disrupt this replication of the world as self-evident and the function of film criticism is to identify and evaluate that politics. Comolli and Narboni then suggest seven categories of films confronting ideology in different ways, among which the second category resists the prevailing ideology on two levels. Films of this group not only overtly deal with political contents in order to “attack their ideological assimilation” (Comolli and Narboni 483), but also achieve their goal through breaking down the conventional way of depicting reality.

Art by its nature is a subject of the philosophical, social, economic, political or religious context surrounding its creator. More often than not, a work of art addresses a specific topic or somewhat revolves around a particular person. Therefore, it is impossible to separate the context of a piece of painting, either historical or cultural, to its intrinsic value or the artwork's meaning. On the other hand, different cultures and time utilized specific conventions that govern the representation of objects of creativity. This essay highlights various pieces of art and their relationship to particular cultural, political, economic, or social settings. Moreover, it pinpoints how different times influence art presentation.

In Laura Podalsky’s essay “The Aesthetics of Detachment” she talks about films Lake Tahoe, a Mexican drama/comedy film released in 2008 by Fernando Eimbcke which is known for Temporada de patos and Club Sandwich which are considered to be more of a deadpan comedy and Heli, a drama/crime Mexican film released in 2013 by Amat Escalante which is considered to be more of a minimalist drama. Throughout the article she shows “aesthetics of detachment” as a notable current in contemporary Latin American cinema evident in deadpan comedies as well as minimalist dramas. What she means by that is basically that deadpan comedies as impassive or expressionless comedy and minimalism as more of an artistic drama. The article also focuses on the similarities and differences between Fernando Eimbcke’s Lake Tahoe and Amat Escalante’s Heli and how each movie shows the the aesthetics of detachment. In Amat’s Escalante’s Heli, the film holds the audience from the distance. The

Though more than likely unintended, this movie “The Secret in Their Eyes” directed by Campanella gave me feelings of dread and despair the likes of which of have felt few other times in my life and left me with a relief and further acceptance of my dependence on God. First though I will discuss the local political themes expressed in the movie. As a foreign observer unaware of Argentina’s history or political climate, I was unable to pick up on the local subtleties of the film. Which after some digging perfectly matched up with fall into political violence proceeding the death of Argentine president Juan Peron. After the investigator’s that had a false confession beat out of a couple of suspects are reprimanded and punished the corruption and increasing moral decay mirrors that which faced Argentina. During this time of political violence and oppression as well as the “dirty” wars former criminals such as the murderer in the movie were pardoned and employed by the security service. The theme of gazing which is very prevalent throughout the movie. Another theme I will address is the beating down of and the undermining of machismo. Lastly past the political and societal themes I will discuss the impression this movie left on me.

Nation's history and culture have definitely a great effect in the art conception in every country. The same way it has a bigger meaning and influence in people that share their traditions. I found really interesting how this empathy multiplies when people happen to be far from their homeland. This is why I chose “Jose Marti” by Roberto Fabelo for this report. “Fabelo”, as he is best known, is a painter, sculptor and illustrator, he was born in Cuba in 1951.

Films have been shown in public for over a century (Earlycinema), and in that time they have become a common and treasured pastime for children and adults. No matter what is going on in the world, film can provide a source of escape and give the viewer a chance to step into another world (McCracken, 2010). However, even in another world it is important for the viewer to see traces of their own world to make a connection to the film. One way that viewers can relate to a fictional world is through relatable characters such as characters of their own race, gender or class. Unfortunately this is not always the case, and oppressed groups tend to be underrepresented in film and media in general.

There are three central sections within the film. Although they are consistent in character and often in circumstance, they should be seen as separate narratives. Each narrative represents the changing nature of the favela over a decade and contains its own visual style and mise-en-scene. It is through this structure that I

The conception of cinema has provided the world with a new art form. Its combination of theatrical and photographic elements, coupled with nuances built of itself, creates pieces of artwork matchless to the art forms before it. For film is too photographic to be considered comparable to theatre and too theatrical to be comparable to photography. The invention of film fulfils some of the limitations of both these mediums and opens possibilities that defines itself as its own artwork, which is ingested by its audience in a more holistic way.

​Released in 1988 by director Giuseppe Tomatore, “Cinema Paradiso” follows the life of a young boy in Italy who dreams of being a filmmaker. The road the boy, who eventually becomes a famous Italian film director named Salvatore Di Vita, takes to reach his goal is difficult and includes many sacrifices and trade-offs. Today, the film is widely regarded as one of the most popular foreign films ever to be released in the United States. Given that foreign films are fairly common in America, it is fair to consider why “Cinema Paradiso” received such critical acclaim, as well as relative mainstream popularity. “Cinema Paradiso” received critical and popular praise because the film includes several timeless themes

Hess and Zimmermann mention that conventional categories have blurred and there’s demands for new political and aesthetic responses in transnational cinema (John Hess 2006). These transnational films I believe would be growing significantly in the film industry as a part of film history.

In this essay I will look at the emergence of Italian neo-realist cinema and how Italian Neo-realism has been defined and classified in the film industry as well as how its distinct cinematic characteristics could only have been conceived in Italy and how these characteristics set the neo-realist style apart from other realist movements and from Hollywood.

According to film theorist Thomas Schatz, “a genre approach (to film) provides the most effective means for understanding, analyzing, and appreciating the Hollywood cinema (Schatz vii).” His approach to film is strongly supported by theorist Edward Branigan’s and the narrative representation of character interaction (Branigan), and André Bazin’s arguments that the objective reality pressed against audience interpretation.

Naomi Greene once said that, “Pier Paolo Pasolini was the more protean figure than anyone else in the world of film.” This means that Pasolini was a versatile film director because he simplified cinema into the simplest way possible, while still visually embodying an important message to his cinematic viewers. Because of his encounter with Italy’s social changes, it influenced the writing and films he chose to write. His aspirations regarding his written work “Cinema of Poetry” explains how a writer usage of words and a filmmaker’s choice of images are linked to how cinema can be a poetry of language. He characterizes cinema as irrational and his approach on free indirect point of view is used to achieve a particular effect in his body of work. His claims made in the Cinema of Poetry illustrate why he stylized his films in the manner he did, such as Mamma Roma through the images he portrayed on screen. By examining Pasolini’s approach to poetic communication in the Cinema of Poetry, we can see that these cinematic attributes about reality and authenticity depicted in Mamma Roma are utilized to question cinematic viewer’s effortless identification of cinema with life. This is important to illustrate because Pasolini wants to motivate viewers to have an interpretative rather than a passionate relationship with the screen.