Art film

works of art, and how reproductivity can affect the authenticity of the artwork. Throughout his essay, he discusses the production of art, and how each piece of art has a specific aura that separates it from any reproductions of it. Some arguments have been made that reproductivity can degrade the authenticity of a work of art, while others have been made that it spreads the influence a work of art. While both claims can be made, it is more valid that the reproductivity of a work of art degrades

distinguishing movements of art. It was proclaimed by the poet André Breton in Paris in 1924. It is defined by Breton as “Pure Psychic automatism, by which one tries to express verbally, in writing, or by any other method, the actual process of thinking.” It’s goal was to liberate thought from the oppressive boundaries of rationalism. The source of artistic creativity for surrealism was inspired by the unconscious mind, particularly dreams. The Surrealist movement emerged from Dada art in Europe after world

Bibliography New technological advancements have allowed for an expansion in the art community, specifically photography. Art has been one of the fundamental aspects of human life since the prehistoric ages. It is a way to express oneself and share creativity with large groups of people. As humans have become more and more intelligent, new technologies have been invented. As technology continues to increase, the possibilities of art also escalate. Through the development of multiple inventions such as the

sculpting, marginal art forms have become commodities. In addition, artists are becoming more popular for their fame rather than the content of their pieces. As artists have gone from creators to celebrities who happen to create, they are able to use their artwork to their own selfish benefit. In the Banksy film, “Exit Through the Gift Shop”, these issues are brought to life and help viewers realize that art as a commodity is not necessarily a good thing. When a marginal art form becomes commodified

Furthermore, In Warshow’s review of E.B White and the New Yorker, experience again is at the forefront of his critique, along with a bit of his ever present political views. He makes a very important point at the begging of this review, “The New Yorker has always dealt with experience not by trying to understand it but by prescribing the attitude to be adopted toward it.” (warshow 2001, 75) This becomes an interesting argument, even today, as we think about what trends we have seen in popular culture

It is a common theme for groups of artist to revolt against their predecessors and the common standards that the pervious community of artist held. This is seen repeatedly from the ancient Greeks, whose bronze and marble sculptures developed around the perfection of the male human form, to the transition to the Romans their ideas followed the individual they sculpted busts of the great leaders and the common people of many different ages showing the uniqueness of all of them. This change was also

unacceptable, yet society has failed to eliminate them. The first example is found in film and is a persistent form of racism that goes largely unnoticed by the masses. In his article The Last King of Scotland – The Ethics of Race in Film, Paul Taylor discusses the idea of the moral gentrification narrative where white heroes swoop in to save the “poor” “helpless” black population. Taylor explains that in the film The Last King of Scotland white FBI agents arrive in the south to save black Americans

Born on 8th of December 1861 in Paris, France as Marie Georges Jean Méliès, George was a particularly interested child in the arts. At a young age, he went to the Ecole des Beaux Arts in Paris where George showed a specific interest in design and puppetry. In 1882, George went to London to study and while there, developed a keen interest in the arts after witnessing the work of Maskelyne and Cooke. On George’s return from London, he worked at his father’s shoe repairing factory, soon becoming the

the projection the way it traditionally is, but interact with it as a projection artwork and a light sculpture. Anthony McCall’s “Meeting You Halfway II (2009)” at the exhibition “Primary Structures and Speculative Forms” at Art Gallery of NSW was an extraordinary light art experience. The artwork caught my attention with its backlit statement. Having been fascinated by cinematic works for long, “Meeting You Halfway II (2009)” got my interest from the first line of the statement: “Based in the fundamental

understanding a work of art involves understanding the artist. In looking at a painting, recognizing the choices like color choice, composition, content and style of rendering is a critical dimension in the observer’s experience of the art. Seeing through the eyes of the artist allows one to discover the truths, feelings and conclusions that the work intends to evoke. Much like in painting, understanding artistic choice is also essential in experiencing other forms of art like literature and cinema