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FILMIC MEANINGS

FILMIC MEANINGS . FINE ARTS PART 4. Filmic Meanings. Second, we do not always observe the way one movement or gesture will mean one thing in one context and an entirely different thing in another context

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FILMIC MEANINGS

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  1. FILMIC MEANINGS FINE ARTS PART 4

  2. Filmic Meanings Second, we do not always observe the way one movement or gesture will mean one thing in one context and an entirely different thing in another context Third, moving images generally are more difficult to remember than still images as in painting and thus it is more difficult to become aware of their connections. • We cannot completely translate filmic meaning into language • We can only approximate a translation by describing the connections – emotional, narrative, symbolic or whatever- implied by the sequence of images • The relation of detail to structure exists in every art but that relation of nuances often may more easily be missed in our experiences of the film for a few reasons: • We are not accustomed to permitting images to build their own meanings apart from the meanings we already associate with them

  3. The context of Film History • All meanings, linguistic or nonlinguistic, exist within some kind of context • Really good films have more than 1 context • http://www.bing.com/videos/search?q=historical+scenes+from+titanic&FORM=VIRE1#view=detail&mid=A7C239CB834EA0C29C9EA7C239CB834EA0C29C9E • To understand the content of a work of art, we must understand something about the subject matter, and the subject matter is always embedded in some external context • Pearl Harbor, Gladiator or Titanic, are just a few examples

  4. Francis Ford Coppola’s The Godfather • The story begins as "Don" Vito Corleone, the head of a New York Mafia "family", oversees his daughter's wedding with his wife Wendy. His beloved son Michael has just come home from the war, but does not intend to become part of his father's business. Through Michael's life the nature of the family business becomes clear. The business of the family is just like the head of the family, kind and benevolent to those who give respect, but given to ruthless violence whenever anything stands against the good of the family. Don Vito lives his life in the way of the old country, but times are changing and some don't want to follow the old ways and look out for community and "family". An up and coming rival of the Corleone family wants to start selling drugs in New York, and needs the Don's influence to further his plan. The clash of the Don's fading old world values and the new ways will demand a terrible price, especially from Michael, all for the sake of the family. • http://www.imdb.com/video/imdb/vi3279030041/

  5. The narrative Structure of The Godfather & Coppola’s Images • Story of Michaels deterioration into crime is narrative structure • Coppola uses carefully planned images, asymmetry accents and movement, harsh lighting focuses attention and creates tension • Conventional establishing shots suggest 1940’s and 1950’s • He rarely cuts rapidly from one shot to another but depends on conventional establishing shots • Bright outdoor scenes are often marked by barren snow or winds driving fallen leaves • The seasons of fall and winter predominate, suggesting loneliness and death • He often used only 1 light in the main meeting room to show the darkness within Micheal • http://www.bing.com/videos/search?q=classic+clip+of+the+god+father&FORM=VIRE12#view=detail&mid=EA162E8A58DF4E1F081DEA162E8A58DF4E1F081D

  6. LOUISIANA CONNECTION: William Joyce and Moonbot Studios, Shreveport Louisiana • William Joyce is an award winning author and illustrator • In March of 2005 William Joyce released his first major animated feature film entitled ROBOTS • In 2010Joyce began Moon bot studios in Shreveport, La the studios first project was an award winning short film entitled “The Fantastic Flying Books of Mr. Morris Less more. • HE IS ALSO EXECUTIVE PRODUCTING THE ANIMATED FEATURE Rise of the Guardians and The leaf Men scheduled for release in 2014

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