Alexandre Alexeieff created many remarkable animations aimed towards the adult viewer. Night on Bald Mountain was one of his first to use a completely different technique than anyone in his time had used. His partner, Clair Parker, and he challenged the conventional works of animation inventing one of the most time consuming and rigorous techniques of all. Alexeieff and Parker created the Pinscreen animation. Pinscreen animation makes use of a screen filled with movable pins, which can be moved in or out by pressing an object onto the screen. The screen is lit from the side so that the pins cast shadows. The technique has been used to create animated films with a range of textural effects difficult to achieve with any other animation technique. …show more content…
The Characters are depicted in a contrast of black or white. There is hardly any fluidity credited to the nightmare rigidness that was intended. Alexeieff gives lots of detail to the horrified child witnessing this catastrophic satanic worshiping that rues over the village. The metamorphosis of the ape into a bird is very detailed as well, especially since he was unable to edit anything. It had a lot of penetration which make reasonable sense since it is supposed to be unreal and a dream. The monsters were depicted as demonic and dangerous with detail that was not shown in some characters like the scarecrow, the unknown male figure, and the horses. At one point there was a church ringing its bell but it was difficult to make out the visual of the church which portrayed the lack of holiness in the scene. The condensation of character movement was very quick, the satan worshipers even appeared and disappeared when they …show more content…
Yes the poeticism of Night on Bald Mountain was wonderfully done and eerie as ever, but the detail and narration in The Nose and Pictures at an Exhibition are incomparable. There were details that were similar like his play with colour; he depicts opposites by having one white and the other black, like the cat and mouse in Pictures at an Exhibition and the horses in Night on Bald Mountain. The music played nicely with the animations, credits to Mussorgsky. Although sound is not diegetic; as it doesn’t have a narrative that can even produce sound to follow with it, there wasn’t very much diegetic sound in his other two pinscreen animations
The theatre is full of young men and women. The gas lanterns dimly light the room and the silhouette of a figure can be seen in the shadows of the stage. As she emerges, she is like a dream: a tall, elegant body with a form fitting bodice and tutu. She is entrancing on her tiny pointe shoes as she floats across the stage. Love and passion fill the air as she moves in such a way that is almost magical. The Romantic Ballet Period introduced the aspects of theme, costume, and new technique to the dance world and its influences are still seen in contemporary works in ballet.
Some of the special effect used in these films are animation. For example, the penguin scene in Mary Poppins. Another example of this is transitioning and flashbacks. An
Throughout the years, America has pursued the performing arts in a large variety of ways. Theatre plays a dramatic and major role in the arts of our society today, and it takes great effort in all aspects. Musical Theatre, specifically, involves a concentration and strength in dance, acting, and singing. This is the base that Musical Theatre is built upon. For my Senior Project, I helped choreograph multiple scenes in a community musical “Thoroughly Modern Millie”. Choreography is a way of expressing oneself, but it has not always been thought of for that purpose. Agnes de Mille’s expressive talent has drastically affected how people see choreography today. Agnes de Mille’s influence in the world of dance has left a lasting impact in the Performing Arts Department, and her revolutionary works are still known today for their wit, lyricism, emotion, and charm.
The degree of transcendence attained by a particular performance depends largely on the relationship the audience has with the performer. Claude McKay’s Harlem dancer is initially framed through the gaze of a group of rambunctious youths, densely packed into a Harlem night-club. The young men accompanied by their prostitutes cheer and laugh, debasing the dance to a lewd exhibition. Where the seductive disrobement of the dancer would be thought to warrant a level of hypnotic control over the viewers, their capacity for the manipulation of her image indicates that the performance holds little to no significance. While “perfection” is attained by the sway of her half-clothed body, rather than a testame...
Breton also mentioned in the manifesto that the combination of reality and dream could lead to “surreality”. 1 Un Chien Andalou possesses this combination in the way the camera captures the image, and partnering between the objects that we know in our own lives, that are real, with the loss of logic in the actions of the film, which corresponds with dream states.
This is a response to the video The Thousand and One Nights. The Thousand and One Nights is a book of stories. One of the main characters in the story was Scheherazade. Scheherazade is queen, storyteller, the wife of Shahryar, and the daughter of Vizier. The premise of the story is when faced with a challenge, for things to change sometimes someone has to step up and do something different.
The stage that hosted the creation of illusion for those attending ballet after 1827 in its “golden age” (Guest, 1) introduced a new world, but one that could not be reached. These illusions were expressed through performance as “moods of Romanticism.” (5) The Romantic period of the early 19th century emphasized the alienation of an individual, the spectacle of that isolation, and the Romantic ideal that perfection remains mysterious and unattainable, as opposed to the late 18th century’s Enlightenment ideals that held rationality and tangible beings most profound. The spectacle of an estranged, supernatural being embodies these elements of Romanticism, as was represented in Romantic ballet. Coralli and Perrot’s 1841 ballet, Giselle, incorporated these Romantic elements into “each one of (the ballet’s) component parts - scenic design…choreography and dance style” (7), as well as with innovations in narrative. These narratives began to project women as powerful representations of the ethereal, supernatural being, as is specifically shown in the character of Giselle in Coralli and Perrot’s ballet. Through the novelties of Romantic visual presentation in scenery, movement, and narrative, the golden age of ballet was able to effectively “(reveal) the unattainable” (7) and supernatural.
It is said that this book is considered as one of the most famous horror novels, if not the most famous one. The Gothic descriptions in the novel are very prominent at the beginning. The portrayal of the countryside of Transylvania, of the ruined Dracula Castle, etc, all provide the effect of horror in the sense of spooky and gloomy atmosphere, which you can obtain close at hand. Everything is so obvious. The originally beautiful scenes are changed by the writer¡¯s magnification of some specific details which provide certain effect on the readers. All of the above reminds how one¡¯s personal feelings can alter their attitudes towards what they see or what they experience. Sometimes when you are sad, everything look so depressing. It is like the whole world is against you. The sunset could be a fantastic scene when you are filled with joy but an extra source of sorrow when you are not in the mood. Harker is separated from her lovely fianc¨¦e to meet some foreign count in the exotic and unknown eastern world.
The acclaimed book known as Escape to Witch Mountain was published in 1968 by Alexander Key. Escape to Witch Mountain was a book about a peculiar pair of siblings named Tony and Tia Malone, and their quest for answers about their vague origins. It all began after they are placed in a new foster home called the Hackett House after the death of their beloved grandmother, Mrs. Malone. The other children then start to notice the supernatural abilities of Tony and Tia, when Tony beat up the notorious bully named Truck in such a grandiose fashion that had drawn a lot of attention to the two. The next week, the Hackett House had gone to Heron Lake for a week. Before They left, Tony and Tia met an old nun named Sister Amelia; whole gave them a hint about their mysterious background using clues from Tia’s star box and a letter written by a discreet man who lived in the mountains. The information made the children
Mise en scene is a French theatrical term meaning “placing on stage,” or more accurately, the arrangement of all visual elements of a theatrical production within a given playing area or stage. The exact area of a playing area or stage is contained by the proscenium arch, which encloses the stage in a picture frame of sorts. However, the acting area is more ambiguous and acts with more fluidity by reaching out into the auditorium and audience. Whatever the margins of the stage may be, mise en scene is a three dimensional continuation of the space an audience occupies consisting of depth, width, and height. No matter how hard one tries to create a separate dimension from the audience, it is in vain as the audience always relates itself to the staging area. Mise en scene in movies is slightly more complicated than that of an actual theater, as it is a compilation of the visual principles of live theater in the form of a painting, hence the term “motion picture.” A filmmaker arranges objects and people within a given three-dimensional area as a stage director would. However, once it is photographed, the three-dimensional planes arranged by the director are flattened to a two-dimensional image of the real thing. This eliminates the third dimension from the film while it is still occupied by the audience, giving a movie the semblance of an audience in an art gallery. This being so, mis en scene in movies is therefore analogous to the art of painting in that an image of formal patterns and shapes is presented on a flat surface and is enclosed within a frame with the addition of that image having the ability to move freely within its confines. A thorough mise en scene evaluation can be an analysis of the way things are place on stage in...
... imagination is sometimes more excessive than the action on the screen. After the application of Williams’ “theory” to David Creonenberg’s film Shivers, it is apparent that the spectator’s personal perception of the action (or inaction) is more the cause of the bodily reaction that Williams is referring to, rather than the objective excess on the screen. Ultimately, various characteristics of Williams’ arguments are true, but as a film theory in general, “Film Bodies: Gender, Genre and Excess” needs further research and flexibility in order to be both relative to all “body” genre films, and applicable to all unique spectators.
In the article “Visual Pleasure and Narrative Cinema,” Laura Mulvey discusses the relationships amongst psychoanalysis (primarily Freudian theory), cinema (as she observed it in the mid 1970s), and the symbolism of the female body. Taking some of her statements and ideas slightly out of their context, it is interesting to compare her thoughts to the continuum of oral-print-image cultures.
On May 29, 1913 when Diaghilev’s masterpiece debuted at the Theatre des Champs-Elysees, the response of the audience was overwhelming in their shock at the erotic and unconventional nature of the dance. What made this performance different then what anyone in Western Europe had ever seen before was its jarring and sexual nature. Rather than the music and choreography be one, flowing, coherent unit, it was instead rather choppy and dissonant which most likely caught the naive audience off guard. The nature of this ballet is described many times t...
While Shakespeare doesn’t have the cinematic luxuries of lighting and shadow at his disposal, he proves that Mulvey’s argument that desire is expressed in voyeuristic and scopophiliac fashion, but also that these innate desires of an audience transcend mediums and can in fact be fulfilled and appreciated in written form as much as within the intricacies of modern film.
The proscription from any domain of memorable works may be due to a major problem both in the novel and film: the ambiguous point of view adopted. The novel is geared for a transposition to the screen. It is no coincidence that the film was scripted by Niccolò Ammaniti, who adapted ...