Durational Metamorphosis

2021 ◽  
pp. 74-98
Author(s):  
Jordan Schonig
Keyword(s):  
Visual Form ◽  
Incremental Change ◽  
Structural Film ◽  
Common Understanding

This chapter examines the phenomenological and aesthetic effects of “durational metamorphoses,” slow movements of incremental change that result in a sense of visual transformation, such as a sunrise or the shape-shifting of clouds. These movements have become hallmarks of “slow cinema” in the last twenty years, but also can be traced back to the non-narrative experiments of structural film such as Fogline (Gottheim, 1970) or the landscape films of James Benning (e.g., Ten Skies, 2004). By analyzing sequences featuring durational metamorphoses across narrative films and video installations such as Silent Light (Reygadas, 2007), The Locked Garden (Viola, 2000), and Cemetery of Splendor (Apichatpong, 2015), this chapter demonstrates how a phenomenology of durational metamorphoses can help rethink the discourse of cinematic slowness, which often treats slowness and stasis as occasions to retreat away from the perception of the screen and toward contemplation. Against this common understanding of slowness, this chapter argues that durational metamorphoses compel perceptual encounters with slowness as a form of movement, one that presents Bergsonian duration in visual form.

The Embittered Mind

2016 ◽  
Vol 37 (4) ◽  
pp. 213-222 ◽  
Author(s):  
Hansjörg Znoj ◽  
Sandra Abegglen ◽  
Ulrike Buchkremer ◽  
Michael Linden
Keyword(s):  
Emotional Reaction ◽  
Control Group ◽  
Systematic Research ◽  
Roc Curve Analysis ◽  
Confirmatory Factor Analyses ◽  
Receiver Operating Characteristic Curves ◽  
Confirmatory Factor ◽  
Different Dimensions ◽  
First Time ◽  
Common Understanding

Abstract. There is a growing interest in embitterment as psychological concept. However, little systematic research has been conducted to characterize this emotional reaction. Still, there is an ongoing debate about the distinctiveness of embitterment and its dimensions. Additionally, a categorical and a dimensional perspective on embitterment have been developed independently over the last decade. The present study investigates the dimensions of embitterment by bringing these two different approaches together, for the first time. The Bern Embitterment Inventory (BEI) was given to 49 patients diagnosed with “Posttraumatic Embitterment Disorder (PTED)” and a matched control group of 49 patients with psychological disorders with other dominant emotional dysregulations. The ability to discriminate between the two groups was assessed by t-tests and Receiver Operating Characteristic Curves (ROC curve analysis). PTED patients scored significantly higher on the BEI than the patients of the control group. ROC analyses indicated diagnostic accuracy of the inventory. Further, we conducted Confirmatory Factor Analyses (CFA) to examine the different dimensions of embitterment and their relations. As a result, we found four characteristic dimensions of embitterment, namely disappointment, lack of acknowledge, pessimism, and misanthropy. In general, our findings showed a common understanding of embitterment as a unique but multidimensional emotional reaction to distressful life-events.

The perception of visual form.

1902 ◽  
Vol 9 (1) ◽  
pp. 93-93
Author(s):  
Charles H. Judd
Keyword(s):  
Visual Form

Becoming Present, Becoming Absent: Movement and Visual Form in the Film Adaptation of Comédie

2012 ◽  
Vol 21 (2) ◽  
pp. 157-180
Author(s):  
David Foster
Keyword(s):  
The Other ◽  
Film Adaptation ◽  
Visual Form ◽  
Sergei Eisenstein ◽  
Basic Framework ◽  
Global Movement ◽  
Local Movement

This article examines the use of movement and visual form in the film adaptation of Samuel Beckett's Comédie (Marin Karmitz, 1966). The article broaches the kinetic elements of the work through addressing the manner in which the diegetic motion of the film can be seen to reflect extra-diegetic cinematic processes. The sense of movement that is created through Comédie's montage is then considered at length, making use of work on this theme by two quite different (though tangentially related) theorists: Sergei Eisenstein and Jean-François Lyotard. The article then charts the film's different manifestations of formal movement, and a basic framework is proposed to explain the manner in which the film creates moments of intensity, through what is termed the ‘local movement’ of the montage, and the manner in which the film manifests an overall curve of intensity, through what is termed the montage's ‘global movement’. It is argued that each form of montagic motion is reflected in the other, and that ultimately these movements might be seen to dramatise a human drive towards, and a concomitant flight from, an impossible state of ontological totality.

The Diversity of the Visual Form

2016 ◽  
Author(s):  
Georgeta Merişor Dominte
Keyword(s):  
Visual Form

Indian Horse

2015 ◽  
Vol 2 (1) ◽  
Author(s):  
Casey Shea Pollon
Keyword(s):  
University Students ◽  
Key Words ◽  
Point Of View ◽  
Main Element ◽  
Text And Image ◽  
Design Studies ◽  
Visual Form ◽  
Diploma Program

Type as Image: Eliciting Emotions is a project of VCDE233 Typography II (Constanza Pacher) and VCDI223 Design and Pre-Press Production (Jess Dupuis), both courses in the Design Studies Diploma Program at MacEwan University. Students were asked to capture the essence of the book Indian Horse, by Richard Wagamese, and translate it into a three-poster series using typography as the main element. Under the premise that the visual form is dictated by the content, students were encouraged to analyze plot, characters, point of view, imagery, tone, themes and symbolism to extract key words, sentences and passages as the basis for their designs. Students were asked to challenge literal interpretations by exploring the use of expressive typography and text and image relationships.

STUDY OF ORNAMENTS IN HUNTO SULTAN AMAY MOSQUE GORONTALO

ARTic ◽  
2019 ◽  
Vol 4 ◽  
pp. 167-176
Author(s):  
Risti Puspita Sari Hunowu
Keyword(s):  
Qualitative Method ◽  
The Other ◽  
Visual Form ◽  
Research Material ◽  
Other Hand ◽  
The World ◽  
Existing Form ◽  
The City ◽  
Dutch Colonial

This research is aimed at studying the Hunto Sultan Amay Mosque located in Gorontalo City. Hunto Sultan Amay Mosque is the oldest mosque in the city of Gorontalo The Hunto Sultan Amay Mosque was built as proof of Sultan Amay's love for a daughter and is a representation of Islam in Gorontalo. Researchers will investigate the visual form of the Hunto Sultan Amay Mosque which was originally like an ancient mosque in the archipelago. can be seen from the shape of the roof which initially used an overlapping roof and then converted into a dome as well as mosques in the world, we can be sure the Hunto Sultan Amay Mosque uses a dome roof after the arrival of Dutch Colonial. The researcher used a qualitative method by observing the existing form in detail from the building of the mosque with an aesthetic approach, reviewing objects and selecting the selected ornament giving a classification of the shapes, so that the section became a reference for the author as research material. Based on the analysis of this thesis, the form  of the Hunto Sultan Amay mosque as well as the mosques located in the archipelago and the existence of ornaments in the Hunto Sultan Amay Mosque as a decorative structure support the grandeur of a mosque. On the other hand, Hunto Mosque ornaments reveal a teaching. The form of a teaching is manifested in the form of motives and does not depict living beings in a realist or naturalist manner. the decorative forms of the Hunto Sultan Sultan Mosque in general tend to lead to a form of flora, geometric ornaments, and ornament of calligraphy dominated by the distinctive colors of Islam, namely gold, white, red, yellow and green.

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