1. What aspects of the film could be considered anti-illusionistic? Be specific. I feel that the scenes with Jesus seeming to look at the actions occurring in the film is anti-illusionist. Many of these scenes have a blue tint to them, breaking the "illusion" and bringing attention to the medium through the unnatural coloring. Furthermore, Jesus' head appears to turn to look at the action that is going on. The audience knows that this could not really happen because Jesus would not have been alive during the time that the film was created and because these scenes seem to have been taken from a previous film and edited to where Jesus' head is facing the characters in the subsequent scenes. 2. Defend the statement, Scorpio Rising is a film with a complex relationship to popular culture. …show more content…
Anger shows the critique of popular culture visually through the actions that the biker men partake, but through the music that accompanies it to describe the critique that is being made. In addition, I believe that Scorpio Rising has influenced popular culture by using techniques that later became prominent in music videos. For instance, the slow pans and tilts that match the vibe of the music is apparent in music videos. Nevertheless, vibrant colors, silhouettes, and the storyline following the lyrics of the music (and vice-versa) is also popular in today's music videos. Therefore, this also allows this film to have a complex relationship with popular
At the top of the artwork the upper part of the cross extends beyond the altarpiece. The edge of John the Evangelist’s red robe on the left of the altarpiece and the edge of Mary Magdalene’s pale blue skirt on the right are cut off when the panel ends, giving the viewer the feeling that, rather than looking in on the scene, the viewer is actually taking part in the scene. This, added to the empathy invoked through the delicate, heart-wrenching rendering of the figures in the artwork, let the observer directly interact with the painting and places him/her within the narrative.
...done. Giotto used tempera to paint this one. There are senses of desperation of the apostles, but it is not as compelling or moving as Leonardo’s. Giotto has bright colors, especially considering the era it was painted in. However, he doesn’t use landscape, there is no symmetry. When you look at it, you can tell who Christ is due to the golden halo around his head. However to decipher which one of the apostles is Judas, would be in vain. He used no symbolism, there is no depth. The background is done in a golden hue, not a natural life like version. The faces of the apostles do show a questioning gaze, but the diverse emotions are not there. Everyone is also sitting straight up around a table, there is no movement. I would have to say that while for its era this was a great painting, it is not a memorable one for me. Leonardo’s version is so much more.
In Justin Pearson's memoir, From the Graveyard of the arousal Industry, he recounts the events that occured from his early years of adolesence to the latter years of his adulthood telling the story of his unforgiving and candid life. Set in the late 1970s "Punk" rock era, From the Graveyard of the Arousal Industry offers a valuable perspective about the role culture takes in our lives, how we interact with it and how it differs from ideology.
...t would help bring into understandable light the mystery of the Church’s teachings. Finally, achievements in re-creating human emotion would ensure the painting’s, and therefore the Church’s teachings would leave an indelible mark on all of its viewers.
Looking across the entire triptych certain visual elements can be seen. Lighting is carefully used to highlight many important details in the painting; the dramatic facial expressions of many of the people in this scene are clearly lighted and defined to illustrate the emotions felt by the witnesses. In the left panel of The Raising of the Cross, among the mourners appear to be St. John, another man that seems to be consoling St. John, Elizabeth (the mother of John the Baptist), St. Mary (the mother of Jesus) and Mary Magdalene (hoocher.com). One of the mourners is actually looking directly at the viewer with a very distraught expression on her face. The mourner that I suspect is St. John in the back appears to be almost nauseous and his face is surrounded by darkness and is subordinate and his face is being emphasized. Also, the rocky background is subordin...
On the statue it says “Our Lady has said that the Eternal Father is making use of modern technology to communicate with a fallen generation, a generation whose hearts are so hardened and eyes so blinded, that they need some kind of tangible proof of the authenticity of the Bayside visions” (Wojcik, p.309-310)”. This quote is implying that nowadays people do not believe in religion because they are not given absolute proof that the divine exists. We can look at this even deeper and wonder why people are so quick to believe anything that they read on social media and the Internet. Even though this information is tangible, it does not necessarily make it true therefore how can we question the legitimacy of the power of religion just because we do not see it. In the text one of the individuals at the Virgin Mary statue gave their reason as to why they took pictures of it and they say, “the Holy Spirit enters the camera and creates the images that are inside the camera” (Wojcik, 1996). Many people have different reasons as to why they believe in God however if someone feels linked with a religious being through a camera, there is no negativity in
The painting shows Mary, Mary Magdalen and John embracing Jesus’s dead body while they are crying, and focuses on their emotional distress of losing someone dear. Mary is caught middle of letting out a great cry while embracing Jesus from the left. John is shown with curly brown hair while also letting out a cry, but he is behind Jesus and only his face is visible. Mary Magdalen is to the right holding onto one of Jesus arm that reaches over the edge that almost seems like it is coming out of the painting. The whole scene in the painting is very grim as Jesus, the central figure, is lying dead with scars of his mistreatment clear for everybody to see. His body is white and thin with veins of arms and body showing through the skin, and his face seems so tired and worn out. On his head, there is a crown of thorns, but without any blood or scars. The emotional distress in the faces of those around Jesus are stylized, but any viewer would recognize their
A huge element to the mural is Leonardo’s use of color. Jesus persona is illuminated and given much more light than the others, but light and dark are not the extend of what makes this painting unforgettable. Most of the disciples as well as Jesus are wearing blue emphasizing a sense of unity. Jesus is the only one wearing bright shade of reddish/orange but many think it may have been the foreshadowing for the tragic events. The table they are eating on is also draped with white cloth, a symbolic color to show purity and emotional cleanliness of Christ. Leonardo employs a fully frontal One-point perspective system. This system focuses our attention on Christ, since the perspective lines almost as rays of light radiating from Christ head. Representing the effects of color and light in creating believable space. The clarity and contrast between light and dark emphasize the foreground elements. The small details of the mountains in the far background, the doorway, and the clouds in the sky commendably difficult to paint. The object farther away appear less distinct and often bluer in color. Varieties of lines including wide, vertical, horizontal, thick, curved indicating the edge of a two-dimensional flat shape and three-dimensional form of the rectangular table, flat surface wall, and the dining room ceiling. Lines are frequently used to outline shapes, forms and space. The volume, movement, and patterns can all be created using line in both 2D and 3D such as objects on the table, doorway, rectangular table, and the simple artistic effect of the dining room
An examination of 2001’s appeal over the last three decades provides insight into the changing perceptions of a single cultural document over time. Young Baby Boomers were initially attracted to the film for very different reasons than those of audiences in the 1990s. Because 2001 is unlike many other films in that it invites its viewers to apply their own subjective interpretations, it serves particularly well as a signpost for contemporary social attitudes and trends. By examining the different ways that 2001 has been interpreted by its audience over that time, it reveals a great deal about evolving cultural attitudes toward issues such as technology, spirituality, and the commercialization of American society.
Recognize that the "Culture of Hollywood" is based on motion pictures as big business as well as entertainment.
It is not a must that the dramatic representation of the humanity of Christ to be compatible with the different articles about Christ (Greydanus). But, it could be valuable as well as worthwhile if any work of art focuses on the truth about Christ. In The Last Temptation of Christ, the movie gives the audiences the ‘human’ Jesus, but then again he is imperfect. The movie has scenes that depict blasphemy. For instance, there is a part where Jesus expounds that he creates the crosses for crucifying ...
With all the social, political and cultural changes occurring in the 1960s, youth culture was embracing the ideologies of rebellion and counterculture. The Folk music of the sixties was giving way to the new Rock revolution and with this came the iconic Rock Rebel. The Rock Rebel is a romanticized existential figure who revolts against social conventions in a quest to find value or a sense of freedom beyond the pre-existing conforms of society. (Camus; 1967) Through analysing, in a sociological context, the way the music industry utilized film to help create or reinvent star image of Rock icons The Beatles and The Rolling Stones, we can see how the signifier of the Rock Rebel has evolved with the developing Rock culture. (Dyer; 1979:1)
In recent times, such stereotyped categorizations of films are becoming inapplicable. ‘Blockbusters’ with celebrity-studded casts may have plots in which characters explore the depths of the human psyche, or avant-garde film techniques. Titles like ‘American Beauty’ (1999), ‘Fight Club’ (1999) and ‘Kill Bill 2’ (2004) come readily into mind. Hollywood perhaps could be gradually losing its stigma as a money-hungry machine churning out predictable, unintelligent flicks for mass consumption. While whether this image of Hollywood is justified remains open to debate, earlier films in the 60’s and 70’s like ‘Bonnie and Clyde’ (1967) and ‘Taxi Driver’ (1976) already revealed signs of depth and avant-garde film techniques. These films were successful as not only did they appeal to the mass audience, but they managed to communicate alternate messages to select groups who understood subtleties within them.
Liljequist’s article "Does Music and Lyrical Content Influence Human Behavior?", he explains that “over the last four decades music and lyrical content have became more explicit with references to drugs, sex, and violence.” To do this, he starts by showing “Today's music and lyrical content have undergone dramatic changes since the introduction of rock and roll more than forty years ago. These changes have become an issue of vital interest and concern for society in general. During the past four decades, music and lyrical content have become increasingly explicit with references to sex, drugs, and violence. The anti-social themes common in popular music have compelled some adults to rally against it, especially heavy metal and rap. If parents in the fifties didn't like Elvis' gyrating hips, those same people would be astounded at how rapidly we've reached the "anything goes" mentality. With the advent of MTV and VH-1, not only do we get to listen to violent lyrics, but we also get to see it acted out in full color. Historically, there has been a distrust of youth oriented
Pop culture is a reflection of social change, not a cause of social change” (John Podhoretz). It encompasses the advertisements we see on T.V, the clothes we wear, the music we listen to, and it’s the reason Leonardo DiCaprio has not won an Oscar yet. It defines and dictates the desires and fears of the mainstream members of society and it is so ingrained into our lives that it has become as natural as breathing. Moreover, adults never even bat an eyelash at all the pop culture and advertising that surrounds them since it has become just another part of everyday life. Pop culture is still somewhat seen as entertainment enjoyed by the lower class members of society but pop culture standards change over time.