The visual imagery in The Cabinet of Dr. Caligari is relatively strange and twisted. Immediately at the sight of the dark, disproportioned, and rather unusual architecture the tone or mood is set. The visual style conveys a sense of disquieting dread and ambiguity. Moreover, stage properties in this film add to the visual imagery, mood, and ambience. This is successfully provided through the way each scene has specific typography that scrolls upward on the screen, the light changes that focus in on particular scenes or the way the doors, windows, buildings, mirrors, and walls are painted with eccentric patterns, impractically shaped asymmetrical and elongated or curtailed.
Dr. Caligari and Cesare his somnambulist, are often portrayed in
Recently, an exhibit of his prints and drawings made its way to the United States from The British Museum in London to The New Mexico Museum of Art in Santa Fe, New Mexico. Once one arrives at the beautiful old adobe museum, it is necessary to enter the main courtyard and walk directly through the large wooden doors. After that, one must enter a closed room with large glass doors where the title of the exhibit is written. In this room, the walls are painted a vibrant crimson red, which accentuates the blacks, greys, and white tones of the prints and drawings. After turning to the right after a short corridor, one must again turn to the right and find the wall labeled, “Los Caprichos.” It is upon this partition that one immediately notices the ominous yet exquisitely crafted masterpiece The Sleep of Reason Produces Monsters from c.1798-99.
He suggests that the use of “electronic imaging prevents imagining and promotes thinking about architecture rather than bring architects, contractors, clients and critics to think within architecture” (275). Inspired by Frascari, the strategy of technography is encouraged (278). This is a “different way of thinking about the relationship between a [working] drawing and a future building. Rather than “simply Cartesian, technical lines showing edges, corners and joints these technographic drawings reveal both the symbolic and instrumental representations of the future building.. it is to make visible what is invisible”. Ridgway remarks, “The fact that any of this could be considered contentious indicates that extent to which architects have become alienated from the heart of their profession” (279). He asserts, “Part of any technography must be an acknowledgement of the historical context of construction knowledge. This is not only so we can better understand our rich architectural ancestry, but because it re-establishes a connection with the origins of our profession in building” (279). Rather than a “miniature projected representation of an imagined building, details are drawn as poetic constructions themselves, following the logic of drawing and not building and representing the “built detail symbolically, in addition to instrumentally. The symbolic and practical are one and the same thing” (280). “What are the symbolic qualities we are trying to embody in our buildings and how would we represent them in drawings?” becomes the question (278). These drawing “may not be easy or straightforward to understand or interpret.
... study for the overall concept they appear rather as abstract patterns. The shadows of the figures were very carefully modeled. The light- dark contrasts of the shadows make them seem actually real. The spatial quality is only established through the relations between the sizes of the objects. The painting is not based on a geometrical, box like space. The perspective centre is on the right, despite the fact that the composition is laid in rows parallel to the picture frame. At the same time a paradoxical foreshortening from right to left is evident. The girl fishing with the orange dress and her mother are on the same level, that is, actually at equal distance. In its spatial contruction, the painting is also a successful construction, the groups of people sitting in the shade, and who should really be seen from above, are all shown directly from the side. The ideal eye level would actually be on different horizontal lines; first at head height of the standing figures, then of those seated. Seurats methods of combing observations which he collected over two years, corresponds, in its self invented techniques, to a modern lifelike painting rather than an academic history painting.
Both the Chuorinkan house and the Koganei house are in the To kyo suburbs and were designed at about the same time. Though they differ structurally and visually, they represent one approach to the problems they involve. The starting points of both are deliberate quotations and reorganizations of architectural compositional elements that can be called representative of the early modern period. I have used the same kind of design approach in other works. For example quotations from motifs used by Le Corbusier and Charles Rennie Mackintosh are found in the interior of PMT Building No. 1 (JA, September, 1978). Project W and PMT Building No. 2 entail reorganizations of elements from Le Corbusier's La Roche-Jeanneret House in Paris. And the facade of the Osaka PMT factory quotes the facade of Le Corbusier’s Villa Stein, at Garches. The aims behind quoting and reorganizing operations of this kind are (1) producing the effect of collages of heterogeneous elements and (2) visual ization of surface elements. Though the Chuorinkan house resembles PMT Building No. 1 in that its facade consists o...
To begin, Tarkovsky’s cinema is not about historical realism or exposing the everyday as it really is. Cinema is unavoidably an especially paranoid representation of experience. Sculpture hewn in time resembles everyday events no more than wood sculpture does stumps. What makes Tarkovsky interesting might be gotten at in terms of doors and windows. Dalle Vacche[1] approaches the array of moments and differences in the style:
“ The paintings of Filippo Lippi are frequently characterized by two features: an interest in minimizing the divide between world, image and the presence of humor, both bodily and representational. Although these two aspects of Lippi's art might initially seem unconnected, this paper suggests that both can be associated with the use of scientific perspective. Lippi's spatial concerns can be understood as a reaction to the distancing of the iconic image that accompanied the invention of perspective.”
The Alfred Hitchcock film; Vertigo is a narrative film that is a perfect example of a Hollywood Classical Film. I will be examining the following characteristics of the film Vertigo: 1)individual characters who act as casual agents, the main characters in Vertigo, 2)desire to reach to goals, 3)conflicts, 4)appointments, 5)deadlines, 6)James Stewart’s focus shifts and 7)Kim Novak’s characters drives the action in the film. Most of the film is viewed in the 3rd person, except for the reaction shots (point of view shot) which are seen through the eyes of the main character.(1st person) The film has a strong closure and uses continuity editing(180 degree rule). The stylistic (technical) film form of Vertigo makes the film much more enjoyable. The stylistic film form includes camera movements, editing, sound, mise-en-scene and props.
The true greatness of the building is in the main room, the atrium is a huge open area in a radial style with a central point being in the center of the room. The room is filled with a combination of circles and squares which illustrates the Romans fascination with geometric shapes. Along with geometric shapes the inside of this building full of brilliant shades of oranges, blues and purples. There are ionic style pillars around the base of the room as well as sculptures of different gods. Just above the main room there is a frieze of false windows that make a band around the midlevel of the room. Although the windows are false there ar...
In this paper, I will be describing the theme of the demiurge which appears in The Matrix by the Wachowski Brothers and in the story “The Circular Ruins” by Jorge Luis Borges. In doing this I will develop an argument about it, and interpret it in the two texts in detail. I will also compare the visual text with the literary text, as well as talk about what writing can do that film cannot and vice versa. I will also cover how the artist use their respective media.
The link between expressionism and horror quickly became a dominant feature in many films and continues to be prominent in contemporary films mainly due to the German expressionist masterpiece Das Kabinett des Doctor Caligari. Wiene’s 1920 Das Kabinett des Doctor Caligari utilized a distinctive creepiness and the uncanny throughout the film that became one the most distinctive features of externalising inner mental and emotional states of protagonists through various expressionist methods. Its revolutionary and innovative new art was heavily influenced by the German state and its populace in conjunction with their experience of war; Caligari took a clear cue from what was happening in Germany at the time. It was this film that set cinematic conventions that still apply today, heavily influencing the later Hollywood film noir genre as well as the psychological thrillers that has lead several film audiences to engage with a film, its character, its plot and anticipate its outcome, only to question whether the entire movie was a dream, a story of a crazy man, or an elaborate role play. This concept of the familiar and the strange, the reality, the illusion and the dream developed in Das Kabinett des Doctor Caligari, is once again present in Scorsese’s 2010 film Shutter Island. It is laced with influences from different films of the film noir and horror genre, and many themes that are directly linked to Das Kabinett des Doctor Caligari shot 90 years prior.
The decursio sides are representations of Antoninus Pius’ deification and funerary rites. The depiction consists of the cavalry circling the standing figures, two of whom carry military standards, while the rest are wearing their cuirass. These scenes represent the ceremony that is essential for the deification of the imperial members. The style that is used within these sides is in relief form, yet they also break from the traditional Classical style. The variation of the Classical style is prominent by depicting stocky human forms and using two types of perspective within a single space. The figures also lack the gracefulness of other works during this time that follow the Classical style. The perspective of the piece is unclear where the figures seem to be suspended in space for what seems to be an overhead view while at the same time using a single perspective. Despite the deviation of the Classical style this p...
But these contrived differences give rise to esthetic difficulties too. Because inherent differences—those that come from genuinely differing uses—are lacking among the buildings and their settings, the contrivances repre...
The Fragment of a Fresco is a piece that is perfectly balanced with equal proportions divided directly in the center. It is an illusionary view shown through two panels that appear as green tinted glass. Within these panels are scenes of the world outside as if looking through a window. Looking into the left panel, one can see a square temple with ornamental sculpture surrounding the roof. An intricately designed columned porch runs deep alongside the temple. In front of the temple at the base of the panel, is a group of men or boys displaying gestures of joy and happiness. The right panel is filled with a cluster of various buildings including a round temple. The depicted buildings display a view of the elevation and complexity of the design of the city. The buildings are painted using an elaborately layered style that utilizes shadows to show the depth of the city. The upper portions of both panels have faded to the point that the scenes are completely obscured. Directly surrounding both panels is a red border that is plain and non-decorative. Dividing the fresco into the two individ...
Pedro Almodovar’s 1997 film Live Flesh (Carne Tremula), is rich in both visual and story elements, making in the perfect candidate for a scene analysis. Upon writing this paper, however, this was almost to my disadvantage. I watched it through and whittled it down to about five scenes I considered analyzing. This self-challenge is a testament to not only this film, but Almodovar’s whole body of work; he has created so many thoughtful, intricate, and all together entertaining films in his career, I had to somehow forgive myself for just choosing one short scene out of only one of his movies for analysis. So, without further ado, here is an analysis of a scene from Live Flesh.