The Demonization of a Rock Musician’s Image in Western Cinema

In this article, attention is mainly focused on the images of musicians with supernormal abilities in Western cinema, their recognizable external and behavioral features, which are largely a clichéd perception of one or another stylistic of rock music. Why do the images of rock musicians fit so well into the visual structure? First of all, this is the high potential of the represented stories for multilevel decryption. The interest of mass culture in the field of rock music is characterized by many criteria, and not least of all associated with the carnival, mystical elements of concert activity; detective elements, and existential twists and turns. The clichéd motives of protest do not coincide with everyday life or do not directly correlate with it, but it is precisely the struggle that becomes in demand among the audience. It is symptomatic that rock musicians appear in many films in the images of Others, endowed with superpowers. Different myths are intertwined, and transformations and demonic forces are initially regarded as something unrighteous, but it is to the au- dience’s judgment that options are presented in assessing the Others and their fate. The author examines in detail a number of characters of rock musicians who appear in many films in the images of Others, supreme beings. This kind of character assumes the individual assessments of ethical principles inherent to this or that superhero.

Dhemes Concept on Visual Branding of Laweyan Batik Surakarta

Batik etiquette, commonly known as batik stamp, is part of a promotion that serves as a differentiator from similar products. The existence of Surakarta batik etiquette was born as an effort to gain legitimacy in the community, emerging in the 1930s it was motivated by the dynamics of social and political change. The emergence of batik etiquette with a tendency to prioritise visual patterns in Surakarta is apparent in the visual structure of most Surakarta batik etiquettes. In this study it is suspected that the characteristic character of batik etiquette is related to the views and nature of thought of the people at that time. In this case the concept of dhemes is also thought to be reflected in visual patterns and arrangements in the batik etiquette of Kampung Kauman and Laweyan Surakarta. The existence of batik etiquette which was motivated by socio-political changes had an impact on changing people’s perceptions about products which in turn impacted perceptions about visual order. Etiquette status is not merely a marker of a product, but also plays a role in changing the perception of the product. Etiquette is interpreted as a form of actualization of batik producers in their respective regions. Batik etiquette as an art product is not only a personal expression, but also as a representation of the social order. At a further level art products become media to mark changes in social perception. Keywords: dhemes, batik etiquette, laweyan

Playing with Forms and with Concepts of ‘Form’: Proportion, Symmetry, and Seriality in Modern Visual Poetry

Starting from a distinction between different historical and philosophical concepts of ‘form’ as they have been discussed by Władysław Tatarkiewicz, this article argues that visual poetry is constituted and concretely shaped by its implicit, sometimes even explicit, reflection upon ‘form’. In three paragraphs different concepts of ‘form’ are briefly discussed with regard to selected examples of visual poems: (1) form as ‘proportion’; (2) form as the counter-concept of ‘content’; and (3) form in the sense of ‘contour’. The first part focuses on examples of twentieth-century visual poetry playing with the sonnet form and exposes its rigidly proportional visual structure. In addition, the strategy of turning form to serial account is illustrated. There is a long tradition of engaging with the sonnetʼs history and generic features via the very sonnet form, either in order to defend this highly artificial poetic genre (as an example by August Wilhelm Schlegel illustrates), or in order to criticize or parody it. Visual poetry sonnets reduce this poetic genre to its proportions, thus questioning under which preconditions the reader identifies a ‘sonnet’ at all. The second section of the article presents two examples of concrete visual poetry (by Eugen Gomringer and Mathias Goeritz) that play with the notion of ‘content’ by foregrounding this ludic element and the poetic processes that are represented indirectly by the respective poems’ visual structure. The third section is dedicated to the complementary concepts of ‘outline’ and ‘dissolved contours’, focusing on the contrast between traditional instances of the contour poem and more recent examples (Carlfriedrich Claus, Eugen Gomringer) which expose the tension between form and its dissolution.

Investigating the Relationship Between Anthropomorphism and Point of View by Analyzing the Visual Structure of Film in “Hunters and Hunted” (2009)

This paper examines the creation of anthropomorphism through a point of view focusing on visual structure in the "Hunters and Hunted"(2009) documentary. One of the criticisms of wildlife films is the anthropomorphism of animal behavior and relationships in ecosystems in these documentaries, as it can lead to distortions of animal behavior in ecosystems. One of the aims of this article is to indicate the part of anthropomorphism that is created through the point of view and through the visual form of the work, so in order to avoid anthropomorphism in films, more attention should be paid to the form of aesthetic. Point-of-view analysis shows that subjective point of view (P.O.V) shots leads to anthropomorphism from the perspective of non-human beings. With this in mind, the different perspectives were explored in "Hunters and Hunted" from the “life” (2009) series. Surveys show that from 475 shots of this documentary, 14 shots are from the first person’s point of view from an animal perspective to advance the narrative. The structure of the P.O.V created in these shots shows that the shot / reverse angle shot pattern was used to create the subjective point of view and the image composition and also editing played a key role in creating the P.O.V shots in this documentary.