The Fragmented Frame 2

2020 ◽  
pp. 127-163
Author(s):  
Bruce Isaacs
Keyword(s):  
Screen Effect ◽  
Screen Image ◽  
Space And Time ◽  
Mise En Scene ◽  
Relational Systems ◽  
The Aesthetic

In this central chapter in Part II of the book, the aesthetic of the fragment is analyzed in its purest form: the split-screen image. The split-screen image crosses mise en scène, montage, and narrative relational systems. While Hitchcock did not use a split-screen effect in his work, the chapter analyzes several Hitchcockian sequences as split-screen compositions. The split-screen effect is intensified in the cinema of Argento, Lucio Fulci, and De Palma, materializing in these works as a literal rent within the frame. The chapter presents close formal analyses of Shadow of a Doubt, Vertigo, Psycho, Marnie, Argento’s Four Flies on Grey Velvet, Fulci’s Don’t Torture a Duckling, and De Palma’s Sisters, Obsession, Dressed to Kill, and Blow Out.The aesthetic of the fragment is further read through De Palma’s intensification of the split-screen effect, culminating in the abstraction of space and time in the split diopter lens composition.

The Fragmented Frame 1

2020 ◽  
pp. 84-107
Author(s):  
Bruce Isaacs
Keyword(s):  
Narrative Form ◽  
Color Line ◽  
Formal Potential ◽  
Abstract Shape ◽  
Mise En Scene ◽  
Visual Frame ◽  
Experimental Works ◽  
Topographic Representation ◽  
The Aesthetic ◽  
A Site

The aesthetic of the fragment is examined in detailed analyses of the Hitchcockian frame. The frame is both the formal composition underpinning mise en scène and the opening into the infinite play of fragmented images within visual, aural, and narrative form. The frame is a site of formal “expressivity,” “abstraction,” “topographic representation,” and “schematization.” The fragmented frame is revealed in the modernist experimentation of form through color, line, and shape in North by Northwest, the topographic frame in The Birds, and the canting of the visual frame in Shadow of a Doubt. The chapter concludes that the representational image forming the diegesis is overwhelmed in Hitchcock’s experimental works by the formal potential of abstract shape and pattern.

scholarly journals Problems of time and space in the philosophy of Shūzō Kuki (1888 – 1941)

2021 ◽  
pp. 1-12
Author(s):  
Lyubov' Borisovna Karelova
Keyword(s):  
Time Correlation ◽  
Edo Period ◽  
Time And Space ◽  
Space And Time ◽  
Art Works ◽  
Temporal Aspect ◽  
The Subject ◽  
The Aesthetic ◽  
Different Characteristics ◽  
Philosophical Writings

The subject of this research is the philosophy of Shūzō Kuki, which is usually associated with his original concept, built around the concept of iki that simultaneously denotes taste, wealth, sensibility, dignity, reserve, and spontaneity, as well as embodies the aesthetic ideal formed in urban culture of the Edo period (1603 – 1868). The Japanese philosopher is also notable for a number of other intellectual insights. For depicting a holistic image on the philosophical views of Shūzō Kuki, a more extensive array of his works is introduced into the scientific discourse. A significant part of these work have not been translated into the Russian or other foreign languages. This article explores the problems of time and space, which are cross-cutting in the works of Shūzō Kuki  using examples of such philosophical writings as the “Theory of Time”, “What is Anthropology?”, “Problems of Time. Bergson and Heidegger”, “Metaphysical Time”, "Problems of Casualty”. The research employs the method of historical-philosophical reconstruction and sequential textual analysis of sources. Special attention is given to the problems of cyclical time, correlation between the infinite and the finite, and its reflection in the literary or art works, existential-anthropological landscape of space and time, spatial-temporal aspect of casualty and relevance. The conclusion is made on the contribution of Shūzō Kuki to elaboration of the problems of space and time, namely his cross-cultural approach that allows viewing the general philosophical problems from the perspective of both Western and Eastern thought, as well as a distinct  “interdisciplinary” approach towards analysis of the phenomena of space and time, which are viewed from different perspective and acquire different characteristics depending on the angle and aspect of reality of the corresponding context. Thus, there is a variety of concepts of time, which do not eliminate, but complement each other.

Documenting the Future: Visual Design

2019 ◽  
pp. 39-66
Author(s):  
Dan Dinello
Keyword(s):  
Visual Design ◽  
Long Distance ◽  
Hollywood Film ◽  
French Film ◽  
Production Values ◽  
Mise En Scene ◽  
The Future ◽  
Visual Style ◽  
Andre Bazin ◽  
The Aesthetic

This chapter details how Alfonso Cuarón's Children of Men eschews the glamorous production values of the standard Hollywood film and moves into the transgressive realm of simulated reportage. It elaborates Children of Men's realism by Cuarón's incorporation of the handheld camera with uninterrupted long takes, complex compositions with multiple planes of action, and an emphasis on medium and long-distance shots rather than close-ups. It also analyses Children of Men's visual style that reflects the aesthetic of French film theorist Andre Bazin. The chapter discusses how Cuarón takes a 'present-in-the-future' approach to the mise-en-scène and insistently cross-references the nightmarish state-of-siege future with staged versions of historical, politically charged imagery. It examines Children of Men as a transhistorical critique.

The Part Is Greater Than the Whole

2020 ◽  
pp. 61-83
Author(s):  
Bruce Isaacs
Keyword(s):  
Sound Design ◽  
Seminal Work ◽  
Formal Systems ◽  
Aesthetic Form ◽  
Mise En Scene ◽  
Infinite Array ◽  
The Aesthetic ◽  
Film Form

Pure cinema is defined in terms of the interrelationship of formal “fragments” that subtend an infinite array of formal systems within the work. In this model, the aesthetic philosophy of the fragment is developed through the seminal work of Raymond Bellour, one of the most astute of the classical Hitchcockian theorists. The fragment structures aesthetic form across mise en scène, montage, sound design, and narrative. The philosophy of the fragment is read in further detail and greater philosophical specificity through the historical tension between Eisenstein’s montage as whole and Deleuze’s attempts to read montage through the itinerary of the part. The resonance or vibration of the part is read as intensity, structuring the “excessive affect” that underpins the aesthetic of the fragment in film form. The aesthetic of the fragment is revealed in close formal analyses in Hitchcock’s North by Northwest, Argento’s Suspiria, and De Palma’s Union Station sequence in The Untouchables.

Wallace Stevens' “Visibility of Thought”

PMLA ◽  
1962 ◽  
Vol 77 (4-Part1) ◽  
pp. 482-498
Author(s):  
Joseph N. Riddel
Keyword(s):  
Human Experience ◽  
Wallace Stevens ◽  
Space And Time ◽  
Romantic Poet ◽  
The Matrix ◽  
The Senses ◽  
The Aesthetic ◽  
Single Power

Human experience, according to Santayana, may be described as a conflict between the spirit and the imperfections which distract it from the pure and ideal toward which it aspires. And yet, to complete the paradox, there is no spirit without these imperfections, the matrix of flesh and world, space and time, which contains it. This is as much as anything a poet's dramatic vision: it is Yeats's with his passion to preserve the senses in an eternity of time, and it is Wallace Stevens' with his more realistic search for a balance between the antinomies of self and world. For Stevens, the imagination is the single power that can effect the vital unity, in life or in poetry: it alone can provide the aesthetic economy of experience so urgent for the modern romantic sensibility. Stevens is a romantic, or better, a neo-romantic poet who has gone to school to the French Symbolists and post-Symbolists only to conclude that the ends available to the artist are not metaphysical but aesthetic, and thus human. The romantic poet necessarily lives in two worlds: that of his sensual experience and that of his imaginative vision. In those moments when he manages to blend the two, he achieves not only a poem but that singular experience of “truth” from which he draws his spiritual sanctions. And if God is absent from his universe, as he is from Stevens', the moments of reconciliation become increasingly problematical but no less pressing.

scholarly journals KRITIK SOSIAL DALAM NASKAH DRAMA OBROG OWOK-OWOK EBREG EWEK-EWEK KARYA DANARTO: TINJAUAN SOSIOLOGI SASTRA

2019 ◽  
Vol 7 (3) ◽  
pp. 165-172
Author(s):  
Zaenudin Zaenudin ◽  
Mulyono Mulyono
Keyword(s):  
Social Problems ◽  
Social Criticism ◽  
Form Expression ◽  
The Public ◽  
Space And Time ◽  
The Social ◽  
The Aesthetic ◽  
Dimensions Of Space ◽  
As If

Naskah drama Obrog Owok-owok Ebreg Ewek-ewek karya Danarto dipilih untuk dikaji karena di dalam naskah drama ini terdapat berbagai masalah sosial yang kemudian memunculkan kritik. Kritik-kritik yang terdapat dalam naskah drama tersebut perlu dikaji dan disampaikan ke publik. Naskah drama ini juga memiliki keunikan. Dialog yang sama diucapkan dua atau tiga tokoh berurutan bahkan hampir bersamaan, namun tidak dalam satu ruang dan waktu. Naskah drama ini seolah-olah mencoba untuk menyatukan dimensi ruang dan waktu. Naskah drama ini adalah naskah dengan struktur yang tidak dapat dikatakan sederhana, meskipun secara umum termasuk dalam naskah realis. Tujuan penelitian ini adalah mendeskripsikan kritik sosial yang terdapat dalam naskah drama dan mendeskripsikan wujud ekspresi kritik sosial tersebut membangun estetika drama dalam naskah Obrog Owok-owok Ebreg Ewek-ewek karya Danarto.   The play script of Obrog Owok-owok Ebreg Ewek-ewek by Danarto is chosen to be studied because in this play script there are various social problems which then generate criticism. The criticisms contained in this play script need to be reviewed and submitted to the public. This play script also has uniqueness in the dialogue. The same dialogue is spoken by two or three characters in sequence even almost simultaneously, but not in the same place and time. It looks as if trying to unify the dimensions of space and time. This play script is a text with a structure that cannot be said to be ordinary, although it is generally classified as realist script. Furthermore, in this drama script there are various social problems which then led to criticism. The purpose of this study is to describe the social criticism contained in the play script and describes form expression of social criticism build the aesthetic of drama in Obrog Owok-owok Ebreg Ewek-ewek by Danarto.

The Serpent Son (1979): A Science Fiction Aesthetic?

2018 ◽  
pp. 109-122
Author(s):  
Tony Keen
Keyword(s):  
Science Fiction ◽  
Greek Tragedy ◽  
Doctor Who ◽  
Ancient Greek ◽  
Production Methods ◽  
Greek Drama ◽  
Mise En Scene ◽  
Visual Style ◽  
The Aesthetic ◽  
Clear Statement

This chapter discusses the aesthetics of the BBC’s 1979 production of Frederick Raphael and Kenneth McLeish’s The Serpent Son, an adaptation of Aeschylus’ Oresteia trilogy, which critics at the time associated with science fiction. Certainly, the design of costumes, sets, props and lighting, together with the direction and camerawork, gave this trilogy a non-realist studio-bound visual style familiar to contemporary British television science fiction series, such as Doctor Who, Blake’s Seven and The Tomorrow People. By examining elements of the mise-en-scène, this chapter assesses whether this was a deliberate choice. It argues that, whilst the similarities are there, the aesthetic is as much the result of production methods employed at the time by the BBC, and general non-mimetic approaches to the production of Greek drama on screen, as it is any deliberate attempt to recall the science fiction genre. But the choice of a non-realist aesthetic for Greek tragedy is also a clear statement about the producers’ view of the connection between the modern audience and ancient Greek texts. This is the dominant visual aesthetic of productions of Greek tragedy on British television around this time, many of which employed similar distancing effects.

David Lynch

2012 ◽  
Author(s):  
Justus Nieland
Keyword(s):  
Interior Design ◽  
Human Organism ◽  
David Lynch ◽  
Design History ◽  
Art Cinema ◽  
Inland Empire ◽  
Avant Garde ◽  
Mise En Scene ◽  
The Aesthetic ◽  
Architecture And Design

A key figure in the ongoing legacy of modern cinema, David Lynch designs environments for spectators, transporting them to inner worlds built by mood, texture, and uneasy artifice. We enter these famously cinematic interiors to be wrapped in plastic, the fundamental substance of Lynch's work. This volume revels in the weird dynamism of Lynch's plastic worlds. Exploring the range of modern design idioms that inform Lynch's films and signature mise-en-scène, the book argues that plastic is at once a key architectural and interior design dynamic in Lynch's films, an uncertain way of feeling essential to Lynch's art, and the prime matter of Lynch's strange picture of the human organism. The book offers striking new readings of Lynch's major works (Eraserhead, Blue Velvet, Wild at Heart, Mulholland Dr., Inland Empire) and his early experimental films, placing Lynch's experimentalism within the aesthetic traditions of modernism and the avant-garde; the genres of melodrama, film noir, and art cinema; architecture and design history; and contemporary debates about cinematic ontology in the wake of the digital. This inventive study argues that Lynch's plastic concept of life—supplemented by technology, media, and sensuous networks of an electric world—is more alive today than ever.

Affective Politics of Sensation: Anonymity and Transtemporal Activism in Argentina

2015 ◽  
Vol 2 (1) ◽  
pp. 176-195
Author(s):  
Christoph Brunner
Keyword(s):  
Human Rights ◽  
Sense Perception ◽  
Specific Intervention ◽  
The Public ◽  
Space And Time ◽  
Rights Discourse ◽  
The Aesthetic ◽  
Human Rights Discourse ◽  
The Disappeared ◽  
Aesthetic Expression

This article deals with the aesthetic mobilization of anonymity in Argentine activist practices. Focusing on the specific intervention of El Siluetazo, the public drawing and placarding of nameless silhouettes during the mili- tary dictatorship from 1976 to 1983, anonymity will be explored as instigating an affective politics of sensation. Different from the human rights discourse on disappearance, which is concerned with politics of identification of the disappeared and the repressors, anonymity offers forms of affective relaying beyond identity. The logic of identity will be discussed in relation to a “ distribution of the sensible” that takes aesthetics of sense perception as the target of control (Rancière, 2004). Through investigating the silhouettes not as a universal signifier of disap- pearance but as an aesthetic expression potentially moving across space and time, I will unfold a media ecological conception of activist practices and their capacities of activating transtemporal forms of resistance. 

scholarly journals DALAM KIDUNG BHRAMARA SAṄU PATI

2017 ◽  
Vol 7 (1) ◽  
Author(s):  
I Gde Agus Dharma Putra ◽  
I Gusti Made Sutjaja ◽  
Ida Bagus Rai Putra ◽  
I Ketut Sudarsana
Keyword(s):  
Literary Work ◽  
Space Time ◽  
Space And Time ◽  
The Sublime ◽  
Subject And Object ◽  
The Aesthetic

<p><em>Kalangwan is state of Beauty and cause melting of the distance between the seeker and the sought after. The melting distance causes the soul to drift into the sublime beauty. Distance not only as the conception of space and time, but also the consciousness that separate subject and object. Melting distance means the dissapearance of space, time, and consciousness. Such a condition become a goal by Kawi.</em></p><p><em>Bhramara Sangu Pati more like a monologue that contains the expressions of love for the godness. Love expressions of hope, disappointment, sadness, beauty, especially the longing. Such expressions are axpressed in a soft metamorphosis. Literary is a kind of literature that is still in vague areas especially for researchers.</em></p><p><em>Kalangwan in this text does not stop only on the aesthetic, but also the miystical. Aesthetic because it is a literary work of a hymn that has its own prosody. Mystical because in it there are teachings, especially the teachings that can be used as death. Kalangwan in this study is the level that must  be followed by those who want to achieve death. Kalangwan is not abolished, but skipped. Its like climbing a ladder, to get to the tenth step, it must be through the first, second, third and so on.</em></p>

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