scholarly journals Im Hwa[林和]'s Cinematic Discourse : on the Topology of Film History and the Dialectics of 'Artistic Value and Industrialization'

2011 ◽  
Vol null (75) ◽  
pp. 309-342
Author(s):  
Moon-Im Baek
Keyword(s):  
Film History ◽  
Artistic Value

scholarly journals Nikos Kazantzakis’ Unshot Adaptations of Don Quixote and Decameron

2021 ◽  
Vol 24 ◽  
Author(s):  
Panayiota Mini
Keyword(s):  
Technological Development ◽  
Film Theory ◽  
Film History ◽  
Don Quixote ◽  
Artistic Value ◽  
Soviet Film ◽  
Creative Career

This article examines two of Nikos Kazantzakis’ unshot screenplays of the early 1930s: his adaptations of Cervantes’ Don Quixote and Boccaccio’s Decameron, kept in typed manuscripts at the Nikos Kazantzakis Museum Foundation in Iraklion, Crete. The article analyses Kazantzakis’ Don Quixote and Decameron in the contexts of early talking cinema and his ideas of the image-language relationship. Written at a time when the artistic value of talking cinema was still debated, Kazantzakis’ adaptations demonstrate that he sought to express ideas with images rather than dialogue (Don Quixote) and use sound as a creative element (Decameron) in ways alluding to Eisenstein’s 1928-1929 writings, with which, as evidence suggests, the Greek author was familiar. Thus, Kazantzakis’ Don Quixote and Decameron show how a technological development in film history – the coming of sound – and the Soviet film theory influenced this author’s adaptation techniques, while also enhancing our understanding of his creative career as well as the worldwide resonance of Cervantes’ and Boccaccio’s literary milestones.

Screening Statues

2017 ◽  
Author(s):  
Steven Jacobs ◽  
Susan Felleman ◽  
Vito Adriaensens ◽  
Lisa Colpaert
Keyword(s):  
Contemporary Art ◽  
Three Dimensional ◽  
Interdisciplinary Approach ◽  
Film History ◽  
Two Dimensional ◽  
Artistic Practice ◽  
Experimental Art ◽  
Broad Scope ◽  
Art Practices ◽  
Extensive Reference

Sculpture is an artistic practice that involves material, three-dimensional, and generally static objects, whereas cinema produces immaterial, two-dimensional, kinetic images. These differences are the basis for a range of magical, mystical and phenomenological interactions between the two media. Sculptures are literally brought to life on the silver screen, while living people are turned into, or trapped inside, statuary. Sculpture motivates cinematic movement and film makes manifest the durational properties of sculptural space. This book will examine key sculptural motifs and cinematic sculpture in film history through seven chapters and an extensive reference gallery, dealing with the transformation skills of "cinemagician" Georges Méliès, the experimental art documentaries of Carl Theodor Dreyer and Henri Alekan, the statuary metaphors of modernist cinema, the mythological living statues of the peplum genre, and contemporary art practices in which film—as material and apparatus—is used as sculptural medium. The book’s broad scope and interdisciplinary approach is sure to interest scholars, amateurs and students alike.

Re-imagining German Film History

2001 ◽  
Vol 5 (2) ◽  
Author(s):  
Geoffrey Nowell-Smith
Keyword(s):  
Film History ◽  
German Film

: Notes on a Film History in Progress .

1971 ◽  
Vol 25 (1) ◽  
pp. 58-63
Author(s):  
Lee Atwell
Keyword(s):  
Film History

Editor’s Introduction: Film History and the Individual Film

Film History ◽  
2016 ◽  
Vol 28 (2) ◽  
pp. v ◽  
Author(s):  
Waller
Keyword(s):  
Film History ◽  
The Individual

RECENT BOOKS IN FILM HISTORY

Film History ◽  
2018 ◽  
Vol 30 (1) ◽  
pp. 183
Keyword(s):  
Film History

RECENT BOOKS IN FILM HISTORY

Film History ◽  
2018 ◽  
Vol 30 (4) ◽  
pp. 155
Keyword(s):  
Film History

Graphic design practice of an image for the Chinese character for "鼓 Drum"

2019 ◽  
Author(s):  
POHSUN WANG
Keyword(s):  
Design Thinking ◽  
Chinese Character ◽  
Science And Technology ◽  
Point Of View ◽  
Learning Design ◽  
Design Practice ◽  
Cultural Issues ◽  
Artistic Value ◽  
The Status ◽  
The Times

Basic shape is one of the most important components of the learning design process. Using Western design thinking to understand shape, color and composition layout and attempting to reinterpret the application of traditional calligraphy from a design point of view—whether it is the expression of form or the meaning of content—are both important aspects of design thinking. The writing patterns of traditional calligraphy and the design creation of modern experiments may have different biases. If the artistic value of "the brush and ink of the time" is compared to the science and technology of innovation as the main appeal, the expressiveness of the traditional writing mode is obviously difficult to achieve. Using science and technology as an option for design creation is a difficult way to proceed; however, technology, ideas and thinking can still be in sync with the cultural issues of an entire era. This is also the test of the times to which contemporary creations are subjected. There are infinite possibilities for development, and it is worthwhile to explore these possibilities together with artistic aspirants. On the other hand, if we follow the well-beaten path of the status quo, the creativity of traditional calligraphic art will wither, it will deviate from the larger environment of the era in which it operates, and it will inevitably be neglected and pushed out by other art categories. The design and creation process uses the traditional calligraphy characters and drums as the theme, assisted by digital tools in the creation, and finally transforms the traditional calligraphy visual form into an expression of the art of science and technology.

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