Often categorised as a psychological horror, Persona deals with themes of duality, insanity, and personal identity…. Besides Citizen Kane , it is probably the most written-about film in the canon. If they are one person, there is a question if Alma is fantasising about the actress she admires, or if Elisabet is examining her psyche, or if the boy is trying to understand who his mother is. In a question of duality, Alma represents soul while Elisabet represents a stern goddess.
Stills precede the presentation of a film, decisively informing the expectations held by the public at the time of its release. The production company did its best for the promotion of the scene in the media: launching an elaborate publicity campaign, it fixed a special date for reporters and journalists to capture the sequence themselves. Such key images become characteristic signatures of a film with their dissemination by the media, sometimes inscribing themselves more deeply into the collective memory than the actual film scenes because of their iconic recognition value.
The Cabinet of Dr. Caligari German: Das Cabinet des Dr. Considered the quintessential work of German Expressionist cinema, it tells the story of an insane hypnotist Werner Krauss who uses a somnambulist Conrad Veidt to commit murders. The film features a dark and twisted visual style, with sharp-pointed forms, oblique and curving lines, structures and landscapes that lean and twist in unusual angles, and shadows and streaks of light painted directly onto the sets….
The film presents themes on brutal and irrational authority; Dr. Caligari represents the German war government, and Cesare is symbolic of the common man conditioned, like soldiers, to kill. Other themes of the film include the destabilised contrast between insanity and sanity, the subjective perception of reality, and the duality of human nature.
The European auteur cinema of the s and s produced films outside the rigid studio system that had been the rule until then. Formal means such as editing and montage were used in an experimental way, and handy cameras made the shooting process more spontaneous. The changes in the production of films went hand in hand with new conditions for still photographers.
Whereas Hollywood photographers relied on large-format plate cameras, small-format cameras were used in Europe during the shooting of the film or directly before or after it. This resulted in spontaneous snapshots alongside traditional tableau-like stills. Still photographers such as Raymond Cauchetier and Angelo Novi had already tested this approach as photojournalists in reportages and documentaries before they started working on the set. Based on the most common interpretation of the storyline, the film can be divided into a prologue, seven major episodes interrupted by an intermezzo, and an epilogue.
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If the evenings of each episode were joined with the morning of the respective preceding episode together as a day, they would form seven consecutive days, which may not necessarily be the case. Born in Berlin, Hans Natge began his career as a theatre photographer. In the s, he turned to still photography. Using small-format cameras and doing without additional light, Natge photographed during the shooting of the film right next to the cameraman, which permitted him to produce spontaneous and dynamic pictures. As this form of still photography still resulted in blurred pictures and sometimes captured the actors to their disadvantage at that time, Natge also took conventional stills in the case of Faust.
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But does that make it an interesting, or even memorable, exhibition? I will explain why. We are involved with very different social and political circumstances. The visitor needs at least three hours, and a couple of visits, to get through all of the work and at the end of it all you feel is rather exhausted and only a little enlightened.
Everything and the art kitchen sink preferably teamed with an ancient Chinese sink with ceramic flowers growing out of it has been thrown at the installation of the exhibition, not necessarily to its benefit. The NGV seems particularly adept at this distraction and this exhibition is just another example of the phenomenon. Room after room is filled to the brim with artefacts which are then placed on more noise — busy, repetitious wallpaper!
This means that the luminosity of the colours of the silkscreens and painting completely loose their impact if you were viewing the works against a plain wall. They just blend into the gallery wall. Less is more. Not very far. Noise, noise and more noise, just a symptom and comment on our social media society. Here, time and space is conflated as though the intervening period between them never existed. This simplistic, popularist, comparative curatorial strategy never allows these major artists work room to breathe or the time and space to exist in the sphere and realm of each other.
Warhol did not deserve that. To trust the intelligence of the viewer to make the connections, not treat them as some number walking through the door. Less noise and more imagination. He was a complicated composite of interests and actions; he practiced the passions, desires, ambitions and imaginations of his era. He shaped a broad perception of the world, an experimental world, a popular world, and a non-traditional, anti-elitist world.
National Gallery of Victoria, , pp. His work has all the qualities of that time and reflects all its mythologies.
He was many evades ahead of his time. I think, even today, he is still one of the most important figures in contemporary art. National Gallery of Victoria, , p.
Text from exhibition wall panel. Licensed by Viscopy, Sydney. In Self-Portrait No.
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Text from exhibition wall panels. In their art, Ai aggressively engages with politics and current affairs such as his moving roll call of the more than 5, students that died in the Sichuan earthquake while Warhol was forever occupied with consumerism, pop culture iconography and celebrity. A frisson is created by their respective portrayals of Mao Zedong hung in tandem. Extract from Monica Tan. Social media is a way to connect and, for me as an artist, it is also a way to connect to reality and search for new expressions and ways to communicate.
This has become essential because contemporary art is not a series but a practice. It is connected to our inherent human need to express our inner world, and to make that association possible with others. Social media is the best for this purpose. You recently embarked upon two major portrait projects, including Trace, , and Letgo, , focusing on Australian activists, advocates and champions of human rights and freedom of speech. Can you expand on the relationship between portraiture, celebrity, dissidence and political authority?
AW: These things differ a lot and they form different sections of human expression. As humans, our feelings relate to our desires, fears, anxieties or inner needs for justice and fairness. Above all, we have the idea of right or wrong, but we also make aesthetic judgements about proportion, light, colour, shape and sound.
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All these aspects have to work together to express ourselves. Our values are not abstract. They are really about out wellbeing as humanity.
All rights reserved. This is a great privilege for me as an artist. Each artist is also recognised for his unique approach to notions of artistic value and studio production. The studio of Ai Weiwei is renowned for its interdisciplinary approach, post-industrial modes of production, engagement with teams of assistants and collaborators, and strategic use of communications technology and social media.
Andy Warhol born Pittsburgh — died New York was a leading protagonist in the development of Pop Art, and his influence extended beyond the world of fine art to music, film, television, celebrity and popular culture. Warhol created some of the most defining iconography of the late twentieth century, through his exploration of consumer society, fame and celebrity, media, advertising, politics and capital.
Ai Weiwei born Beijing is an artist and social activist who is among the most renowned contemporary artists practicing today. For the NGV exhibition, a suite of major commissions will be premiered, including a new installation from the Forever bicycles series and a new monumental work from his Chandelier series, among others. These will be presented alongside key works by Ai Weiwei from his early drawings in the s, readymades of the s, and painting, sculpture and photography of the s and s. New and recent installations, including new configurations of major works such as S. The EPI was a sensory assault — an immersive sound-andlight environment involving numerous collaborators.
Warhol shot new footage that was projected simultaneously with older films as part of the show. Danny Williams helped orchestrate light effects, including strobes, spotlights and assorted coloured gels and mattes; Jackie Cassen created psychedelic slides; Gerard Malanga, Mary Woronov, and Ingrid Superstar staged dance routines with sadomasochistic theatrics; and The Velvet Underground performed their proto-punk songs and avant-garde rock improvisations at ear-splitting volume.
It includes films that were projected during the shows, digitised copies of the slides, mattes that were used and live recordings of the Velvet Underground and Nico. Text from exhibition labels.