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thevelements of narrative film
narrative elements in film
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Over the last three decades, narrative and storytelling have played a substantial role in the development of both cinematic and contemporary video-art practices. Along with an increasing interest in documentary forms, as testified by the dominance of video and screens at international exhibitions and biennials, moving image served this major tendency towards narration as allowing for a deeper understanding of a multifaceted modernity. By producing critical images of specific places, as noted by art critic and curator Mark Nash, documentary therefore became the elected tool to ponder on the complex dimension of an increasingly globalized yet multicultural universe, as moreover opposing the slowness of narration to the fast-paced dimension of the Information Age. Inscribed within this general shift towards narration, Ferhat Özgür’s latest video works further exemplify a shared will to renegotiate the very notion of documentary. As combining factual realities, fictitious fantasies and autobiographical memories, Özgür’s video experimentations thus set up a platform of which storytelling is the core. In his short films, visual descriptions of always transforming urban landscapes along with individuals’ private and intimate narratives, therefore allow for an elaborated recognition of Turkey’s heterogeneous cultural dimension. By giving fixed form to both images and language, the apparatus thus becomes a vehicle that the artist confidently orchestrates in order to engage with the oral tradition of storytelling and subsequently preserve memory. Ultimately, this essay will look at the figure of Özgür as resurrecting that of the Storyteller, the auteur not only reproducing but also shaping and affecting phenomena through the camera, i... ... middle of paper ... ...er 2007), Kassel, 2007 Flusser, Vilem, Into the Universe of Technical Images, 2011, Minneapolis: University of Minnesota Press Handran, Christopher, Looking into the Light: Examining the Apparatus in Contemporary Art, Queensland University of Technology, 2013 Leighton, Tania and others, Art and the Moving Image - a critical reader, London, 2008 Mayer-Schönberger, Viktor, Delete: the virtue of forgetting in the digital age, Princeton University Press 2009 Yildirim, Semih Goksel, Comparison of Low Rise Residential Industrialized Building Systems in Turkey, Journal of Literature and Art Studies, Vol. 2, No. 9, September 2012 Electronic Sources Ferhat Özgür's Website, Trading Economics, < http://www.tradingeconomics.com/turkey/unemployment-rate> World Population Review,
In society we are surrounded by images, immersed in a visual world with symbols and meaning created through traditional literary devices, but augmented with the influence of graphics, words, positioning and colour. The images of Peter Goldsworthy’s novel, Maestro (1989) move within these diameters and in many ways the visions of Ivan Sen’s film Beneath Clouds (2002) linger in the same way. Both these texts explore themes of appearance versus reality and influence of setting, by evoking emotion in the responder through their distinctively visual elements.
“The documentary tradition as a continually developing “record” that is made in so many ways, with different voices and vision, intents and concerns, and with each contributor, finally, needing to meet a personal text” (Coles 218). Coles writes “The Tradition: Fact and Fiction” and describes the process of documenting, and what it is to be a documentarian. He clearly explains through many examples and across disciplines that there is no “fact or fiction” but it is intertwined, all in the eye of the maker. The documentarian shows human actuality; they each design their own work to their own standards based on personal opinion, values, interest and whom they want the art to appeal to. Coles uses famous, well-known photographers such as Dorthea Lange and Walker Evans, who show the political angle in their documentations and the method of cropping in the process of making the photo capture exactly what the photographer wants the audience to view. In this paper I will use outside sources that support and expand on Coles ideas with focus on human actuality, the interiority of a photograph, and the emotional impact of cropping.
DeWitte, Debra J. et al. Gateways To Art. New York City, NY: Thames & Hudson, 2012. Print.
Gombrich, Ernst Hans Josef. Art, perception, and reality. London: The Johns Hopkins University Press, 1972. Print.
Many have condemned realist art for “sacrificing beauty for exactitude and obviating conceptual integrity if favour of in-your-face reality”. They argue that the glorification of ordinary, banal subjects may in fact be a pathetic attempt to ignore the drab realities of contemporary life by attempting to ‘spice up’ commonplace objects. Perhaps they think that modern technology and flashy photographical equipment defeats the purpose of original realist art, and provides a far more accurate reproduction of contemporary life. I however, beg to differ. For the realist artist, the vast world is their subject and their aim is to present this world through their art in what they see as their honest representation of it. To label realism as obsolete is to call these artists’ sincere opinions obsolete. People often fail to remember that the world is constantly changing and the ‘ordinary’ doesn’t always remain so. The writer J.P. Stern remarked once that realism is “the creative acknowledgment of the data of social life at a recognisable moment in history”. True, photography and digital technology may produce a more accurate reproduction of real life but representation-wise, a genuine hand-made artwork may in fact offer a far more meaningful result- not merely due to the allowance for modification and
Since the beginning of civilisation, discoveries have encompassed an enticing notion of uncovering something for the first time; however contemporary perceptions of discovery appreciate the transformative nature of newfound realisations whether they arise from a process of deliberate planning or are evoked unexpectedly. Simon Nasht’s 2004 movie documentary Frank Hurley: The Man Who Made History explores the lifetime of the celebrated photojournalist and grand illusionist, Frank Hurley, who pioneered the art of photography and documentary filmmaking and transformed various principles, cultures and civilisations along the way. Correspondingly, Kate Chopin’s contextually divisive and avant-garde short story The Story of an Hour recounts the emotional
Narratives of documentary as a craft of expression of metaphor and the soul of rhetoric have attracted many modern film scholars (Dorst 268-281). Discussing folk life of the films of Errol Morris, Dorst feels that ‘text’ and ‘apparatus’ in a documentary limits the usefulness of hybridity as a productive theoretical metaphor. Comparing the narrative structure of documentary filmmaker William Manchester and Truman Capote, Donald Pizer suggests that documentary narrative can vary in form. Its adaptability suggests that it will continue to serve as a vehicle of experimental narrative by serious writers as well as a form of the higher journalism. Like all literary artists, the modern writer is confronted by the problem of the seemingly rival claims
1. Hunter, Sam and Jacobs, John. Modern Art, 3rd Edition. The Vendome Press, New York, 1992.
In “The Truth about Stories”, Thomas King, demonstrate connection between the Native storytelling and the authentic world. He examines various themes in the stories such as; oppression, racism, identity and discrimination. He uses the creational stories and implies in to the world today and points out the racism and identity issues the Native people went through and are going through. The surroundings shape individuals’ life and a story plays vital roles. How one tells a story has huge impact on the listeners and readers. King uses sarcastic tone as he tells the current stories of Native people and his experiences. He points out to the events and incidents such as the government apologizing for the colonialism, however, words remains as they are and are not exchanged for actions. King continuously alerts the reader about taking actions towards change as people tend to be ignorant of what is going around them. At the end people give a simple reason that they were not aware of it. Thus, the author constantly reminds the readers that now they are aware of the issue so they do not have any reason to be ignorant.
DeWitte, Debra J. Gateways To Art. (2012). New York: New York. Thames & Hudson . 244. Print.
It is a common mis-conception that films are merely entertainment, and serve no other purpose than to provide for the viewer a two-hour escape from reality. This is a serious under-estimation of the power, purpose, and potential of film, because film, upon reflection, revea...
"Modern art." Encyclopedia Britannica. Encyclopedia Britannica Online. Encyclopedia Britannica Inc., 2011. Web. 02 Dec. 2011. .
As seen in paintings of battle scenes and portraits of wealthy Renaissance aristocracy, people have always strived to preserve and document their existence. The creation of photography was merely the logical continuum of human nature’s innate desire to preserve the past, as well as a necessary reaction to a world in a stage of dramatic and irreversible change. It is not a coincidence that photography arose in major industrial cities towards the end of the nineteenth century.
2. Nichols, Bill. ‘Documentary Modes of Representation (The Observational Mode).’ Representing Reality: Issues and Concepts in Documentary. Bloomington & Indianapolis; Indiana University Press. 1991. 38-44
Paintings, like many forms of art, are very subjective—what one may find intriguing another may completely disagree. “Art is physical material that affects a physical eye and conscious brain” (Solso, 13). To glance at art, we must go through a process of interpretation in order to understand what it is we are looking at. Solso describes the neurological, perceptual, and cognitive sequence that occurs when we view art, and the often inexpressible effect that a work of art has on us. He shows that there are two aspects to viewing art: nativistic perception—the synchronicity of eye and brain that transforms electromagnetic energy into neuro-chemical codes—which is "hard-wired" into the sensory-cognitive system; and directed perception, which incorporates personal history—the entire set of our expectations and past experiences—and knowledge (Solso, preface)