scholarly journals Artistic and Communicative System in Cinema

2020 ◽  
Author(s):  
Alina Temliakova
Keyword(s):  
Modern World ◽  
Visual Data ◽  
Ability To Work ◽  
Work Of Art ◽  
Star Wars ◽  
George Lucas ◽  
Technical Innovations ◽  
Film Literacy

The main feature of modern screen culture is the transformation of all links in the chain from the author and the work of art to the viewer. Some technical innovations affect the process of filming, showing films and distributing copies. We consider three major shifts in the artistic and communicative system of cinema. Firstly, it is a transition from the author (film director) to cinematic thought. Today, the concept of imagination comes first. There are also almost limitless possibilities for visualizing imaginary worlds, such as George Lucas’ Star Wars. Secondly, it is the transition from film to cinematic reality. Moreover, this is the part of media reality that surrounds us everywhere in the modern world. Thirdly, this is a shift that affects the viewer, and this allows us to talk about the literacy of the film as universal literacy. Today, most of the data that we work with daily is visual data. The ability to work and live in a constant stream of visual, as well as to develop their own films determines the success of communication between modern people in society. Keywords: author; cinemagoer; cinematic reality; cinematic thought; film literacy

scholarly journals A Filosofia da Liberdade na Saga de Filmes Star Wars – Parte 2

2014 ◽  
Vol 2 (2) ◽  
pp. 563-590
Author(s):  
Alex Catharino
Keyword(s):  
Ludwig Von Mises ◽  
Star Wars ◽  
George Lucas ◽  
Von Mises

O artigo analisa a Filosofia Moral e a Teoria Política que permeiam a saga de filmes Guerra nas Estrelas, do cineasta George Lucas. O autor relaciona a queda da personagem Anakin Skywalker com a ascensão do Império Galáctico e discute alguns temas da estória que podem ser apropriadas como metáforas explicativas de algumas propostas teóricas da Escola Austríaca de Economia, em especial das ideias de Ludwig von Mises e de F. A Hayek.

scholarly journals Overgangens kunst. Modernitet og skepsis i Richard Wagners æstetik

2011 ◽  
Vol 39 (111) ◽  
pp. 113-125
Author(s):  
Thomas Teilmann Damm
Keyword(s):  
Modern World ◽  
Total Work ◽  
Work Of Art ◽  
Artistic Work ◽  
Creative Artists

TRANSITIONAL ART MODERNITY AND SCEPTICISM IN RICHARD WAGNER’S AESTHETICSRichard Wagner is unique among creative artists in that he published copious volumes of theoretical writings to accompany and explain his artistic work. The present paper probes these writings and asks why Wagner should feel the need to constantly explain and justify himself. The answer is found to lie, not so much in the psychological make-up of the artist, as in the very kernel of his aesthetic impulse: the sceptical rejection of tradition and convention, and the reclaiming of an authentic, “purely human”, artistic form. Wagner inhabits a position of ambivalent modernity: he demands the destruction of old totalities of meaning while simultaneously structuring new ones. Nietzsche branded it “the lie of the great style”, a more recent and sympathetic commentator (Richard Klein) has spoken of Wagner’s “pluralist modernism”. The present paper agrees with Theodor W. Adorno that the “total work of art” is indeed a “phantasmagoria” but finds that Wagner, in his theorizing about it, lays bare certain inescapable conditions, risks as well as possibilities, of art and expression in the modern world.

Used Universes and Immaculate Realities

2018 ◽  
Author(s):  
Bob Rehak
Keyword(s):  
Pop Culture ◽  
Star Trek ◽  
Digital Tools ◽  
Special Effects ◽  
Star Wars ◽  
George Lucas ◽  
The Creation ◽  
Mind Set

One of the biggest changes in franchise building has been the refinement of digital tools for previsualizing special effects. This chapter explores the creation of the original Star Wars (1977), focusing on George Lucas as a techno-auteur whose use of animatics was central to creating the film’s world. Beyond production design, however, previz enabled Lucas to extend his authorial brand to encompass the contributions of other artists and pop-culture influences, minting originality out of appropriation. The chapter considers Lucas’s “Special Editions” of the late 1990s as examples of the previz mind-set, noting parallels with the design networks and creative fan productions around Star Trek.

scholarly journals The Force Is Strong with This One (but Not That One): What Makes a Successful Star Wars Video Game Adaptation?

Arts ◽  
2020 ◽  
Vol 9 (4) ◽  
pp. 131
Author(s):  
Matthew Barr
Keyword(s):  
Video Game ◽  
State Of The Art ◽  
Star Wars ◽  
George Lucas ◽  
John Williams ◽  
Potential Factors ◽  
Old Republic ◽  
Space Opera ◽  
High Degree

The Star Wars films have probably spawned more video game adaptations than any other franchise. From the 1982 release of The Empire Strikes Back on the Atari 2600 to 2019’s Jedi: Fallen Order, around one hundred officially licensed Star Wars games have been published to date. Inevitably, the quality of these adaptations has varied, ranging from timeless classics such as Star Wars: Knights of the Old Republic, to such lamentable cash grabs as the Attack of the Clones movie tie-in. But what makes certain ludic adaptations of George Lucas’ space opera more successful than others? To answer this question, the critical response to some of the best-reviewed Star Wars games is analysed here, revealing a number of potential factors to consider, including the audio-visual quality of the games, the attendant story, and aspects of the gameplay. The tension between what constitutes a good game and what makes for a good Star Wars adaptation is also discussed. It is concluded that, while many well-received adaptations share certain characteristics—such as John Williams’ iconic score, a high degree of visual fidelity, and certain mythic story elements—the very best Star Wars games are those which advance the state of the art in video games, while simultaneously evoking something of Lucas’ cinematic saga.

Larger Manners and Events: Sallust and Virgil in Absalom and Achitophel

PMLA ◽  
1967 ◽  
Vol 82 (2) ◽  
pp. 236-244
Author(s):  
R. G. Peterson
Keyword(s):  
Classical Tradition ◽  
Basic Element ◽  
Modern World ◽  
Work Of Art ◽  
Active Pressure ◽  
The Past

John Dryden's work is part of that great stylistic synthesis called neo-classicism; and in it the classical, particularly the Roman, past finds a new relevance to the modern world. The classical tradition not only remains a constant presence but also (in Reuben A. Brower's metaphor) exerts an “active pressure.” Awareness of this basic element, this Roman posture, in Dryden's art shows signs of disappearing behind the varied ingenuities of our own age of criticism. Since A. W. Verrall's lectures were first published in 1914, Dryden's work has been studied extensively and, we may say, has been looked at with new eyes. His great poem, Absalom and Achitophel (1681), has been recognized as a complex and highly sophisticated work of art. The past five years have brought (not to mention the reprinting of Verrall's lectures and the publication of many articles) three important books on Dryden's poetry. One is about Absalom and Achitophel; two others devote many pages of discussion to this poem. Each of these books reminds us, in a slightly different way, that when we have supplied the English equivalents for Biblical persons, institutions, and events we have scarcely begun to read Absalom and Achitophel.

scholarly journals El japonismo de Star Wars

2020 ◽  
Vol 29 (1-2) ◽  
pp. 47-56
Author(s):  
Antonio Míguez Santa Cruz
Keyword(s):  
A Priori ◽  
Star Wars ◽  
George Lucas

El universo de Star Wars es tan popular que prácticamente se ha estudiado desde todas las perspectivas posibles. Sin embargo, la enorme cantidad de referencias visuales o filosóficas que conviven escondidas tras los atrezzos, los vestuarios, o el mismo guion de George Lucas, nos parece una asignatura pendiente a la hora de comprender completamente la profundidad de la afamada saga galáctica.En este caso, nosotros nos ocuparemos de comprobar hasta qué punto existe el japonismo en Star Wars, analizando las influencias o códigos procedentes del país del sol naciente más allá del obvio caso del yelmo de Darth Vader. Así pues, ¿tuvo tanta influencia La fortaleza escondida de Kurosawa en su concepción?; ¿son los jedi un trasunto de los guerreros samurái? O ¿son la Fuerza y el budismo más semejantes de lo que a priori podríamos creer? Sobre esas y otras muchas cuestiones girarán las siguientes páginas.

scholarly journals En una galaxia muy, muy lejana… Espectáculos romanos en el universo StarWars

Veleia ◽  
2020 ◽  
pp. 227
Author(s):  
María Engracia Muñoz Santos
Keyword(s):  
Star Wars ◽  
George Lucas

Todo el mundo reconoce en la carrera de vainas de Star Wars Episodio I: la amenaza fantasma la competición de cuadrigas de la famosísima secuencia del film Ben-Hur de 1959, pero este no es el único espectáculo romano que aparece en las dos primeras trilogías: una pompa, una damnatio ad bestias y una venatio están también presentes en las películas de George Lucas. ¿Se basan estas escenas de la película en documentación histórica? ¿En historiografía sobre el tema? ¿En literatura? ¿En otras películas? creemos interesante hacer un pequeño análisis de todos ellos y con este trabajo intentaremos dar respuesta a estas preguntas.

scholarly journals Disney’s Reel Doubling of Violent Desire in J. J. Abrams’ Mimetic The Force Awakens

Religions ◽  
2019 ◽  
Vol 10 (11) ◽  
pp. 615
Author(s):  
John C. McDowell
Keyword(s):  
Vietnam War ◽  
Social Life ◽  
Cultural Trauma ◽  
Clash Of Civilizations ◽  
American Cinema ◽  
Star Wars ◽  
Richard Nixon ◽  
George Lucas ◽  
The Social ◽  
Sacred Violence

Abrams’ spectacularly distended infantilising manipulation of the saga embeds a form of cognitive resonance with a state of perpetual war and a politically thanatising mythos fitted out as a politically containing moment within what cultural commentators are referring to as “post-9/11 American cinema”, a form of cinema reacting to a cultural trauma and that normalises a hegemonic political reactivity in a perceived ‘clash of civilizations’ in “the social embodied” in an age marked by what Terry Eagleton describes as “holy terror”. As cultural philosopher Douglas Kellner argues, movies of apocalyptic or catastrophe cinema can “be read as allegories of the disintegration of social life and civil society, and the emergence of a Darwinian nightmare where the struggle for survival occurs in a Hobbesian world where life is nasty, brutish, and short.” The contention is that if George Lucas developed Star Wars to struggle with, among other things, an America that had elected Richard Nixon and engaged in the culturally traumatic Vietnam War, Abrams and his co-writer Lawrence Kazdan have relocated the franchise in a context marked as “post 9/11 cinema”. It is unclear quite how The Force Awakens could offer a distinctively interrogatory function for conceiving political subjectivity in the contemporary fractured and self-assertive space of global geopolitics, expressing, as it does, the classificatory coding that figures innocent selfhood in a conflictual relation with the evil terrorist other. Abrams’ movie, accordingly, is ill equipped to refuse to naturalise the innocence of the politically regulative messianic monomyth of the exceptionalist nation that instils a sensitivity conducive to violence against the foreigner when it is perceived to be under threat. It is, in other words, ill-equipped to resist being captured by the Girardian framing of myth within an identification of “sacred violence”. Consequently, The Force Awakens provides a resource for the critic’s reflections on the cultural difficulties of learning about our learning, of the disciplining of desire through monomythic intensification, and of sustaining reaction to cultural trauma through the hostility of sacrificial disposal of the other that requires the instrumentalised rationality of the self-secure national subject.

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