Download Reframing reality : the aesthetics of the surrealist object by Frank, Alison; Stanovnik, Jelena; Thomas, Ellen PDF

By Frank, Alison; Stanovnik, Jelena; Thomas, Ellen

The surrealist item is a regular merchandise that takes on a number of institutions by means of upsetting the viewer’s mind's eye. It additionally poses a particular problem for a few filmmakers who search to use surrealist principles and techniques whilst making feature-length narrative movies. In Reframing Reality, Alison Frank appears in particular at French and Czech motion pictures, together with works by means of Luis Buñuel, Jan Švankmajer, in addition to the modern hit Amélie by way of Jean-Pierre Jeunet, that allows you to provide a brand new tackle surrealist film.

Show description

Read Online or Download Reframing reality : the aesthetics of the surrealist object in French and Czech cinema PDF

Similar criticism books

The artist's body

Physique artwork, functionality, "Aktionism", Happenings: those are all names for the numerous past due twentieth century paintings varieties that experience used the artist's personal physique because the topic and item of the paintings itself. no matter if appearing out the gestures of portray (Jackson Pollock, Yves Klein, the Gutai group); voguing for the digicam (Hannah Wilke, Mariko Mori); subjecting oneself to acts of violence (Chris Burden, Gunter Brus, Gina Pane); showing acts of athletic prowess and braveness (Matthew Barney, Marina Abramovic); or perhaps masturbating less than the gallery ground (Vito Acconci), artists because the past due Fifties have more and more used their our bodies to subvert, surprise and politicise modern artwork.

Latin America at the Crossroads: Architectural Design

Guest-editor Mariana Legu? aThe assertion of Rio de Janeiro because the 2016 Olympic host urban has positioned Latin the US at the world's level. Latin the US has no longer been the centre of foreign architectural recognition and pilgrimage because the mid twentieth century while fiscal development prompted the advance of Modernist city layout and structure on an epic scale.

Once Upon a Time in Papunya

Half paintings historical past, half detective tale, this gripping insider’s account of the Papunya artwork movement—which used to be based round the 1,000 small, painted panels created on the distant northern territory Aboriginal payment of Papunya in the course of 1971 and 1972—goes past a trifling dialogue of the astronomical public sale costs within the overdue Nineties that first drew many people’s consciousness to those items.

Spain - A History in Art

The colour and shadow, the awesome gentle and ascetic darkness — the sol and the sombra — of Spanish lifestyles and Spanish civilization, from prehistory to trendy occasions, are captured as by no means sooner than during this striking publication.

Additional resources for Reframing reality : the aesthetics of the surrealist object in French and Czech cinema

Example text

Nous la liberté was chosen for this study because objects in the film become hybrid not only as a result of a conjunction of historical and technological factors that influenced cinema’s development; Clair’s own aesthetic choices and expressive concerns also contribute to the creation of hybrid objects. As Clair’s career spanned the transition from silent to sound cinema, his work is naturally informed by the tradition of visual storytelling; this is especially the case in À Nous la liberté, as one of his early sound films.

In order to minimise the necessity for inter-titles, it was also common to create narrative cues through close-ups of significant objects and actors’ facial expressions. While Clair’s 39 Reframing Reality choice of frame scale may have been determined to some degree by these conventions of the past, his use of long shots and closer shots also constitutes an individual directorial style that serves both thematic and narrative ends. Clair’s frequent use of long shots does, as in silent film, correspond to frequent chase scenes; however, Clair’s long shots are also determined by the immensity of the sets that could not fit inside the frame if the camera distance were smaller.

For example, the female character fixes her gaze on the male character’s accessories which she has arranged on the bed, or a death’s head moth on the wall. The stare and its object are divided, as the stare is shown in one shot, and the object of the stare in a subsequent shot. This forces the spectator to watch another character staring at something that may or may not be of obvious interest. In the case of the clothes on the bed, the woman’s stare is contemplative. In the case of the moth, the woman shows more emotion, but the way in which Buñuel and Dalí magnify the subjective power of what she sees is through literal magnification of the image (a more distant shot fades in stages to an extreme close-up); at one point the directors even use an iris to zero in on the death’s head on the moth’s abdomen.

Download PDF sample

Rated 4.21 of 5 – based on 10 votes