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Refocus: the Films of Pedro Costa : Producing and Consuming Contemporary Art Cinema
This is the first English-language study of internationally acclaimed Portuguese filmmaker Pedro Costa, examining the cultural, production and exhibition contexts of his feature films, shorts and video installations.It situates Costa's filmmaking within the contexts of Portuguese, European and global art film, looking into his working practices alongside the impact of digital video, forms of collaborative authorship, and the intricate dialogue between modes of production and aesthetics.Considering the exhibition, circulation and reception of Costa's creative output in settings such as film festivals, the art gallery circuit and the home video market, ReFocus: The Films of Pedro Costa provides an essential critical analysis of this major filmmaker as well as of the multifaceted production and consumption practices that surround contemporary art cinema.
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European Art Cinema
European art cinema includes some of the most famous films in cinema history.It is elite filmmaking that stands in direct opposition to popular cinema; and yet, it also has an intimate relationship with Hollywood. This guidebook sketches successive phases of art cinema in Europe from its early beginnings of putting Shakespeare’s plays on the screen, through movements such as Expressionism and Surrealism, to the New Waves of the 1960s and more recent incarnations like Dogme 95.Using film examples, John White examines basic critical approaches to art cinema such as semiotics and auteur theory, as well as addressing recurring themes and ideas such as existentialism and Christian belief.The different levels of political commitment and social criticism, which appear in many of these films, are also discussed. The book includes case studies of eight representative films:• The Cabinet of Dr Caligari (Wiene, 1920)• Earth (Dovzhenko, 1930)• A Man Escaped (Bresson, 1956)• Hiroshima mon amour (Resnais, 1959)• Aguirre, Wrath of God (Herzog, 1972)• Comrades (Douglas, 1986)• Le Quattro Volte (Frammartino, 2010)• Silence (Collins, 2012).
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The Red Screen : Politics, Society, Art in Soviet Cinema
This original collection of essays encompasses seventy years of Soviet cinema from the perspective of twenty academics of different backgrounds and nationalities. The book highlights significant moments in the history of Soviet cinema, providing a challenging montage of detailed `close-ups'.This gives the reader a clear understanding of the aesthetic developments and sociopolitical function of Soviet cinema.
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Art Cinema and Neoliberalism
Art Cinema and Neoliberalism surveys cinematic responses to neoliberalism across four continents.One of the first in-depth studies of its kind, this book provides an imaginative reassessment of art cinema in the new millennium by showing how the exigencies of contemporary capitalism are exerting pressure on art cinema conventions.Through a careful examination of neoliberal thought and practice, the book explores the wide-ranging effects of neoliberalism on various sectors of society and on the evolution of film language.Alex Lykidis evaluates the relevance of art cinema style to explanations of the neoliberal order and uses a case study approach to analyze the films of acclaimed directors such as Asghar Farhadi, Yorgos Lanthimos, and Lucrecia Martel in relation to the social, political, and cultural characteristics of neoliberalism.By connecting the aesthetics of art cinema to current social antagonisms, Lykidis positions class as a central concern in our understanding of the polarized dynamics of late capitalism and the escalating provocations of today’s film auteurs.
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What are motion lines in art?
Motion lines in art are lines or marks that are used to convey a sense of movement or action within a still image. They are often used in comic books, cartoons, and other forms of visual storytelling to show the path of a moving object or character. Motion lines can vary in style and intensity, and are typically drawn in the direction of the movement to create a dynamic and energetic effect in the artwork.
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Can films be works of art?
Yes, films can definitely be considered works of art. Just like paintings, sculptures, or music, films are a form of creative expression that can evoke emotions, convey messages, and provoke thought. The combination of visual elements, storytelling, acting, and music in a film can create a powerful and immersive experience that resonates with audiences on a deep level. Many filmmakers approach their craft with the same level of creativity, skill, and intention as other artists, making their films worthy of being considered works of art.
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How can one order art drugs for films?
To order art drugs for films, one can start by researching and contacting reputable suppliers or manufacturers of art drugs. It is important to ensure that the supplier is reliable and provides high-quality products that meet safety and legal standards. Additionally, one should consider the specific requirements of the film and discuss them with the supplier to ensure that the art drugs meet the creative vision and technical needs of the production. Finally, it is essential to comply with any legal and regulatory requirements related to the purchase and use of art drugs in the film industry.
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Where can I sell my art pictures?
There are several options for selling art pictures. You can consider selling them online on platforms such as Etsy, eBay, or Artfinder. Another option is to approach local art galleries or cafes to display and sell your artwork. Additionally, you can participate in art fairs, exhibitions, or craft markets to showcase and sell your art pictures to a wider audience.
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Viewing African Cinema in the Twenty-first Century : Art Films and the Nollywood Video Revolution
African cinema in the 1960s originated mainly from Francophone countries.It resembled the art cinema of contemporary Europe and relied on support from the French film industry and the French state.Beginning in 1969 the biennial Festival panafricain du cinéma et de la télévision de Ouagadougou (FESPACO), held in Burkina Faso, became the major showcase for these films.But since the early 1990s, a new phenomenon has come to dominate the African cinema world: mass-marketed films shot on less expensive video cameras.These “Nollywood” films, so named because many originate in southern Nigeria, are a thriving industry dominating the world of African cinema. Viewing African Cinema in the Twenty-first Century is the first book to bring together a set of essays offering a comparison of these two main African cinema modes. Contributors: Ralph A. Austen and Mahir Saul, Jonathan Haynes, Onookome Okome, Birgit Meyer, Abdalla Uba Adamu, Matthias Krings, Vincent Bouchard, Laura Fair, Jane Bryce, Peter Rist, Stefan Sereda, Lindsey Green-Simms, and Cornelius Moore
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Complicating Articulation in Art Cinema
Complicating Articulation in Art Cinema argues that art cinema draws attention to its disjointed, multi-parted form, but that criticism has too frequently sought to explain this complexity away by stitching the parts together in totalizing readings.This stitching together has often relied on the assumption that the solution to art cinema's puzzles lies in interpreting each film as the expression of a focalizing character's internal disturbance.This book challenges this assumption. It argues that the attempt to explain formal complexity through this character-centric approach reduces formal achievements and enigmatic characters to inadequate approximations of one another.Reference to character cannot fully tame unschematic and unpredictable combinations of - and collisions between - contradictory levels of narration, clashing styles, discontinuously edited shots, jarring allusions, dislocated genre signifiers, and intermedial elements.Through close analyses of films by Roberto Rossellini, Robert Bresson, Luis Buñuel, Terence Davies, Peter Greenaway, and Kelly Reichardt, Complicating Articulation in Art Cinema offers an ethics of criticism that suggests that the politics of art cinema's eccentric form are limited by character-centred readings.Each of the featured films presents inarticulate characters, whose emotional and intellectual lives are unknowable, further complicating the relationship between character and form.This book argues that, by acknowledging this resistance to interpretation, critics can think in new ways about art cinema's interrogation of the possibilities of knowledge.
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Art in the Cinema : The Mid-Century Art Documentary
In the 1940s and 1950s, hundreds of art documentaries were produced, many of them being highly personal, poetic, reflexive and experimental films that offer a thrilling cinematic experience.With the exception of Alain Resnais’s Van Gogh (1948), Henri-Georges Clouzot’s Le Mystère Picasso (1956) and a few others, most of them have received only scant scholarly attention.This book aims to rectify this situation by discussing the most lyrical, experimental and influential post-war art documentaries, connecting them to contemporaneous museological developments and Euro-American cultural and political relationships.With contributors with expertise across art history and film studies, Art in the Cinema draws attention to film projects by André Bazin, Ilya Bolotowsky, Paul Haesaerts, Carlo Ragghianti, John Read, Dudley Shaw Aston, Henri Storck and Willard Van Dyke among others.
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The Art of Watching Films ISE
Informed by the belief that making films is an art—and that watching films is also an art.With an emphasis on the narrative film, it challenges students to take their film experience further by sharpening their powers of observation, developing the skills and habits of perceptive watching, and discovering complex aspects of film art that they might otherwise overlook.This new edition presents an organised framework that can be applied to all movies.
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How do I best display art pictures?
The best way to display art pictures is to consider the size and style of the artwork. For larger pieces, consider hanging them as a focal point on a blank wall, while smaller pieces can be grouped together in a gallery wall arrangement. Use proper lighting to highlight the artwork and consider using frames that complement the style and colors of the piece. Additionally, make sure to hang the artwork at eye level to ensure it is easily visible and appreciated.
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What makes art art?
Art can be defined as a form of creative expression that evokes emotions, stimulates the senses, and communicates ideas. It is a reflection of the artist's unique perspective and can take many different forms, such as painting, sculpture, music, literature, or performance. What makes art art is its ability to inspire, provoke thought, and connect people on a deeper level through the power of creativity and imagination. Ultimately, art is a way for individuals to express themselves and make sense of the world around them.
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Are pictures without a template not real art?
Art is a form of expression and creativity, and it can take many different forms. While templates can be helpful for some artists, they are not a requirement for creating real art. Pictures created without a template can still be considered real art, as they are a reflection of the artist's unique vision and skill. Art is subjective, and what is considered real art can vary from person to person. Ultimately, the value of a picture lies in the emotions and ideas it evokes, rather than the method used to create it.
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How can one publish art pictures and paintings?
One can publish art pictures and paintings by first ensuring that they have the legal rights to do so, either by creating the artwork themselves or obtaining permission from the artist. Once the rights are secured, they can then choose a platform for publication, such as a website, social media, or an art gallery. It's important to consider the quality of the images and the presentation, as well as the target audience for the artwork. Additionally, artists may want to consider copyright protection and potentially selling their work through a licensing agreement or directly to collectors.
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